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NLP Research Group 11

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

conjure

How many times the word 'conjure' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

feels

How many times the word 'feels' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

own

How many times the word 'own' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

teased

How many times the word 'teased' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

bed

How many times the word 'bed' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

stories

How many times the word 'stories' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

glimpse

How many times the word 'glimpse' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

decided

How many times the word 'decided' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

saracens

How many times the word 'saracens' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

big

How many times the word 'big' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

crowd

How many times the word 'crowd' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

foeman

How many times the word 'foeman' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

dream

How many times the word 'dream' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

hopes

How many times the word 'hopes' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

nobody

How many times the word 'nobody' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

short

How many times the word 'short' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

lay

How many times the word 'lay' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

swank

How many times the word 'swank' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

exclamation

How many times the word 'exclamation' appears in the text?

"Phone Me in Central Park" By JAMES McCONNELL There should be an epitaph for every man, big or little, but a really grand and special one for Loner Charlie. [Transcriber's Note: This etext was produced from Planet Stories Fall 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Charles turned over on his side to look at her. She lay quietly in the other bed, the most beautiful woman he had ever seen. She was blonde to perfection, exquisitely shaped, and the rich promise of her body was exposed to his view. "Why?" he thought as he looked at her. "Why did it have to happen like this?" The whole thing was still like a dream to him, and as yet he couldn't decide whether it was a good or a bad dream. A year ago she had been unattainable, a face to conjure with in erotic dreams, far beyond his ken. A year ago she had been a public idol, the most popular actress of the day. And he had been a nobody, full of a nobody's idle hopes and schemes. And now he was lying in the bed next to hers in her swank Manhattan apartment in the most exclusive hotel in town. The unrealness of the situation overwhelmed him. His mind was a picture of confused thoughts. Meanings and answers to his questions slithered out of his reach. "God," he said. It was not an exclamation, nor yet an expletive. It was a mere statement of fact. A thought teased at him. Charles looked at the woman again and decided that she still looked beautiful in spite of the harshness of the room's lighting. He touched buttons by the edge of the bed and the illumination quieted to a soft glow, wrapping her in a radiant halo. Charles smiled wanly and got up. He stood by the bed looking at her. "I could have fallen in love with you once. A year ago, perhaps, or longer. But not now. Not now." He turned away and walked to the window. "Now the world is dead. The whole world is dead." New York lay quietly below him. It was the hour of indecision when day has not quite made up its mind to leave and night has not yet attacked in force. The streetlights were already on, making geometric patterns through the dusk of Central Park. Some of the billboards were shining, their relays activated by darkness-sensitized solenoids. A reddish-orange pallor hung from the sky. It had been very pleasant that afternoon. She had given of herself freely, warmly, and Charles had accepted. But then he had known that she would. It was not him, it was the circumstances. Under the circumstances, she would have given herself to any man— "Why did it have to be her—or me? Why should it have to happen to anybody! Why!" She would have given herself to any man— His thoughts beat a rapid crescendo, activating emotions, stimulating sensations of angry rage. He wanted to cry, to weep angry tears of protest. To any man, WHO HAPPENED TO BE THE LAST MAN ON EARTH! Charles picked up a heavy book end off the table and crashed it through the thick pane of window glass. A gust of wind from the outside breezed through the shattered opening, attacking his olfactory patch with the retching smell of decaying flesh. Charles ignored it. Even smells had lost their customary meanings. He felt the rage build up inside again, tearing at his viscera. His stomach clenched up like an angry fist. "But I don't want to be the last man alive!" he shouted. "I don't know what to do! I don't know where to go, how to act! I just don't know—" A paroxysm of sobbing shook his body. Trembling, he dropped to his knees, his head against the cold firmness of the sill, his hands clutched tightly around the jagged edges of the window pane. In spite of the sharp pain that raced through his system, in spite of the bright, warm, red stream that trickled down his face, he knelt by the window for several minutes. " Maybe I'm not the last! " The thought struck him with suddenness, promisingly, edged with swelling comfort to fill his emptiness. Charles got up slowly, noticing for the first time that his fingers were badly cut. He wrapped a handkerchief around them and forgot them. He had to know—he had to find out. As he turned to leave, he noticed again the woman lying in radiant state upon the bed. He walked to her side and leaned over, kissing her gently on the forehead. As he straightened up, his leg caught against her arm, pushing it slightly. The woman's arm slipped from its position and dangled from the edge of the bed like a crazy pendulum. Charles picked it up and folded it across her now cold breasts. He started to pull the sheet over her nude form, then stopped, smiling at his conventionality. After all, it didn't make any difference now. The phonograph was near the door. On sudden impulse he switched it on, turned the volume up full, and in grim jest left it playing Rachmaninoff's Isle of the Dead on full automatic. The music haunted him down the hall to the elevator that he had to run himself. The lobby was littered with debris, human and otherwise. Charles ignored it. The street that led towards the Bureau of Vital Statistics was a mess of desolate carnage. Charles overlooked it. Shop fronts smashed, stores looted, gyro-cars wrecked, proud buildings defaced. "That was it," he said to himself. "Pride. We called this the 'Proud Era.' Everything was better and bigger and nicer to have. Buildings were taller, men were healthier, most of the problems of humanity seemed licked, or nearly so. It was a time of free power, each small unit of population, each section of town operating on perpetual, ever-lasting, automatic atomic piles. "We were free. We seemed, almost, to have accomplished something. The world was running well. No wonder we called it the 'Proud Era.' Life was fun, just a bowl of cherries, until...." Two years ago the animals had started dying. Strangely enough the rats had gone first, to anybody's notice. Sales of poison dropped, scientific laboratories chained to a perpetual rodent-cycle began to complain bitterly. Then the lovers who hunted out and haunted the lonely lanes through the countryside began to remark that the locusts were late that year. The Southern states joyously reported that mosquito control was working to an unprecedented degree. The largest cotton crop ever was forecast and rumors from Mexico had it that no one had died from scorpion bite in several weeks. A month later the meat animals, the birds and the household pets began dropping as rapidly as the flies which had dropped earlier. Congress was called into special session, as were all of the national governments around the world. The U.N. met at emergency sessions to cope with the situation. The president of the world-wide Society for the Prevention of Cruelty to Animals committed suicide. Within a year it was obvious to everyone that man was the only animal left on earth. The panic which had begun with the death of the animals was quieted somewhat by the fact that humans seemed immune to the pandemic. But the lakes full of dead fish caused a great stink and residents along the coasts began to move inland. Sales of perfumes and deodorants soared. Then just one year ago, the first human became infected with the strange malady. Within six months, half of the world's population was gone. Less than a month ago no more than a few thousand people remained in New York. And now.... "I've got to find out," Charles told himself. He meant it, of course, but in a sense he was afraid—afraid that his trip to the Bureau might give him an answer he didn't dare listen to. "But I've got to try." He walked on down the bloody street. Before the plague the Bureau of Vital Statistics had been one of man's crowning achievements. Housed as it was in a huge metallic globe of a building, it contained computers which kept exact account of every human on earth. Compulsory registration and the classification of each individual by means of the discrete patterns of his brain waves had accomplished for man what no ordinary census could have. The machine knew who was alive, who was dead, and where everybody was. Once a year the Bureau issued The Index, an exact accounting of Earth's four billion inhabitants. Four billion names and addresses, compressed into microprint, a tremendous achievement even for the "Proud Era." In all of his life, Charles had never once glanced at The Index. The average person had little necessity to do so since the Bureau information service would answer questions free of charge at any time. Reaching the gigantic building, Charles pushed aside the body of a young man and walked into the main foyer. Passing behind once-guarded doors, he entered the giant computer room and paused in admiration. Only once, before the plague, had he seen the interior of this room. But he still remembered it and he still recalled the powerful emotional experience it had been those many years ago. All children had to have a brain-wave recording made by the Bureau during the first month of their life. And again at the age of 10 each child returned to the Bureau for a recheck. It was for this latter recording that Charles had come to the Bureau some twenty-two years before and a friendly guard had let him peep briefly into the computer room. The impression of intense activity, of organized confusion, of mechanical wonder had remained with him the rest of his life. "So different now," he thought, surveying the room. "Now it's empty, so empty." The machine seemed to reflect the stillness, the very deadness of the world. The silence became unbearable. Charles walked to the master control panel. With newly acquired dexterity he switched the computer screens on and watched them glow to life. All around the world sensitive receiving stations pulsed to activity, sending out searching fingers, hunting for elusive patterns of neutral energy, mapping and tabulating the results. The main computer screen dominated one wall of the room. Other smaller screens clustered around it. On these screens could be graphed the population of any and every part of the globe. An illuminated counter immediately above it would give the numerical strength of the area being sampled while the screen would show population density by individual pinpoints of light that merged to form brightness patterns. "I'll try New York first," he said to himself, knowing that he was a coward, afraid to check the whole world from the start. "I'll start with New York and work up." Charles activated the switches that would flash a schematic map of New York on the screen. "There's bound to be somebody else left here. After all, there were at least twenty of us just a couple of days ago." And one of them, a beautiful woman, had invited him up to her apartment, not because she liked him, but because.... The main screen focused itself, the patterns shifting into a recognizable perceptual image. "Why, it was just yesterday (or was it the day before?) that ten of us, at least, met here to check the figures. There were lots of us alive then." Including the blond young woman who had died just this afternoon.... Charles stopped talking and forced his eyes upwards. Peripheral vision caught first the vague outlines of the lower part of the map. His eyes continued to move, slowly, reluctantly. They caught the over-all relief of Greater New York City—and then concentrated on the single, shining dot at the very heart of the map—and he understood. His eyes stabbed quickly for the counter above the screen. One. He gasped. The counter read one . Charles was by himself, the last person alive in all of New York City. He began to tremble violently. The silence of the room began to press quickly in on him. His frantic fingers searched for the computer controls. New York State. One. The entire United States. One. The western hemisphere, including islands. (Was that a point of light in Brazil? No. Just a ghost image). One. The Pacific area, Asia, Australia, Asia Minor, Russia and the Near East, Africa and then Europe. England! There was a light in England! Someone else still lived! The counter clicked forward. Two! His trembling stopped. He breathed again. "Of course. London was at least as populous as New York City before the plague. It's only logical that—" He stopped. For even as he spoke, the light winked out! The counter clicked again. One. Alone. Alone! Charles screamed. The bottom dropped out from under him! Why? Such a simple question, but in those three letters lay the essence of human nature. Why. The drive of curiosity. Stronger, in a way, than the so-called "basic" drives: hunger, thirst, sex, shelter, warmth, companionship, elimination. Certainly more decisive in the history of the race. Man began to think, to differentiate himself from the other animals, when he first asked the question: "Why?" But thinking about "why" didn't answer the question itself, Charles thought. He looked around him. He was sitting on a bench in Central Park, alone except for a few stray corpses. But the park was fairly free of bodies. "You've got about ten minutes warning," he said to himself. "I guess that most people wanted to die inside of something—inside of anything. Not out in the unprotected open." The silence was like a weight hanging around his neck. Not an insect noise, not the chirp of a bird, not the sound of a car nor the scream of a plane. Not even a breeze to whisper among the leaves, he thought. Civilization equals life equals noise. Silence equals.... Why. His mind kept returning to the question. Of all the people on earth, me. The last. Why me? Average, that's what he was. Height: 5'11". Weight: 165. Age: 32. Status: Married, once upon a time. The Norm, with no significant departures, all down the line. Church member, but not a good one. Could that be it? Could the most normal be the most perfect? Had he led the best of all possible lives? Was that it? Had God, in His infinite wisdom and mercy, spared his life, saved him, singled him out because he was most nearly a saint, most nearly Christ-like, most nearly.... Lies—His mind snapped back to reality. He half smiled. Saint? Christ? The Second Coming? He was no saint. Charles sighed. What about—? Chance. That was it! The laws of probability, the bell-shaped curve, normal distribution, rectilinear regression. More people per square foot in New York than elsewhere. The first person who died was from New York, so the last person who gave way to the disease should come from here too. Spin the wheel; throw the dice; toss the coin. So simple to explain by the laws of chance. No need for any underlying assumptions about good and evil, no need for teleological arguments concerning cause and effect. Simply explain it by chance. Somebody had to be the last to go and that was— "No," Charles said, standing up in the quiet of the spring evening. "No, chance won't do it. No man can reckon with chance. The mind rejects such things. There must be something beyond mere accident. There must be!" He sighed slowly. "So now I'm a hermit, whether or not I like it," he said in derision to the gravel path as he walked along it. "A hermit in the midst of a city of millions of—No, I forgot. There aren't any more people, are there?" It was hard to realize, even now. "A hermit, alone—and I haven't even got a cave...." Charles stopped walking suddenly. No cave, he thought. No place to sleep out the long one, no place to rest while time came to change things around and make them for the better. No place to hide. And suddenly it was the most important thing in life to him to find his "cave." It took him almost an hour to find the proper tools, and better than two hours more of hard, nighttime work to get the hole dug to his satisfaction. It took almost three hours to find the right sort of casket, durable but not too heavy for one man to handle. He carted it out to a grassy plot close to the center of the park where the grave was. He let the coffin down slowly into the depression, then piled up loose dirt on the sloping sides of the hole so that the rain would wash it down over him. "I can't very well bury myself," he said. "I guess it will rain after I'm gone." He looked carefully down at the metallic container. Wait now. There was something wrong, something missing. It was—oh, yes, he caught it. It was the stone. There wasn't any stone to go at the head of the grave. "I'll have to fix that." A sheet of metal, bent double, served for the monument proper. A nearby tool shed yielded up a can of paint and a brush. By the glow of one of the streetlights Charles worked out the inscription. "It ought to be something impressive," he thought out loud. "Something fitting the occasion." What did one say on these situations? There was so little chance to practice up for things like this. But it ought to be good, it ought to be proper. "'In this now hallowed corner of the planet Earth—' No. That sounds too ... too...." Make it simple, he thought. And he finally wrote: HERE LIES THE BODY OF THE LAST MAN ON EARTH Yes. That was it. Simple. Let whoever came afterwards figure out the rest. Let them decide. He smiled and finished the painting. Charles was hungry. He got up and started for one of the restaurants near the park. Later on, when there was more time, he'd find a piece of granite and move it to the plot. He could spend his free time carving on it, copying the inscription. He would make it into a real shrine; maybe he would practice up a bit and try to carve a statue to go with the stone. Somehow, though, since things were ready and it didn't make too much difference, it seemed to Charles that he'd probably have a long time to wait. "Maybe it's just a disease, and I'm immune. I was immune to smallpox. The vaccination never took. That's probably it." He smiled. Strange, but now he wanted very much to go on living, alone or not. There were things he could do, ways to keep occupied. He wouldn't mind it so much. But he wanted more and more desperately with each passing second to retain his foothold on the tenuous path of physical existence. The tantalizing thought of "why" puzzled its way back into his mind. But it seemed less pressing now that he had almost come to the conclusion that he would live for a long time. Later, in a few days perhaps, he would think about it. In a little while he'd have plenty of opportunity for hunting down the answer. This seemed good to him, for now he thought he almost had the answer, if there were an answer. He thought he had seen the solution peering out at him from the recesses of his mind, and he didn't like the expression on its face. Better to forget. Charles reached the broad boulevard. There was a large cafe just across from him, its front window caved in by a large truck. He stumbled and almost fell as he stepped from the curb. "Look at me, nervous as a cat." He was trembling noticeably as he started across the street. "I—" He started to say something, to think something. But some hidden part of his mind clamped down, obscuring the thought, rejecting the concept. The tremor turned to a shake before he reached the far curb, and the first burst of wild pain came as he laid his shoulder against the door to the restaurant. This was the way the plague began, but—His mind quickly repressed the idea. It couldn't be the plague. He was immune! Another burst of pulsating, shattering pain crashed through his body, tearing down the defenses of his mind, putting an end of his thoughts of immunity. Colors flared before his eyes, a persistent, irresistible susurrus flooded his ears. He wanted to protest, but there was no one to listen to him. He appealed to every divinity he knew, all the time knowing it would be useless. His body, out of his voluntary control, tried to run off in all directions at once. Charles struggled to end his body's disorganized responses, to channelize all his energy into one direction. His mind came back into action. He set up his goal; everything else seemed irrelevant: he had to get back to the park, to his hermit's cave, to his long, narrow home. He couldn't die until then. Ten minutes. He was allotted ten minutes before the end. It could have been ten years or ten seconds, for now objective time meant nothing to him. It was not a matter of measuring seconds and minutes. It was a matter of forgetting time and measuring space. He concentrated on the grave; he forced his body to become an unwilling machine. While he could, he walked, forcing himself on. When his legs gave way, he crawled. When his knees buckled, he rolled. When his stomach protested, he vomited. It made no difference. Charles refused to think. Machines, especially half-broken machines, do not think; they only work. Sweating, straining, bleeding, retching, he pushed himself towards his goal, trying to add one final touch of grace and custom to the rude irrationalness of it all. His eyes gave out a few feet from the pit. He felt his way towards it. Convulsions shook his body like a cat shakes a captive mouse. He humped his body forward between the seizures, hands outstretched, searching for the grave. And then he was upon it. One arm reached out for grass, and clutched bare space instead. He was home. He gathered energy from his final reservoirs of strength for one final movement that would throw him headlong into the shallow grave. He tensed his muscles, pulled his limbs up under him and started to roll into the hole. Instantly the thought struck him with paralyzing devastation. The answer to it all poked its face out from the recesses of his mind and sapped the last bit of his energy, corroding his nerves and dying muscles. Now he knew, and the knowing was the end of it. He collapsed at the edge of the pit. Only one arm hung loosely down into it, swinging senseless in the air, pointing accusingly at the empty coffin. The world will end, not with a bang, nor with a whimper, but with the last man's anguished cry at the unreasonableness of it all. Charles screamed. The large, invisible, ovular being that hung suspended over the Empire State Building rested from its exertion. Soon it was approached by another of its kind. "It is finished?" asked the second. "Yes. Just now. I am resting." "I can feel the emptiness of it." "It was very good. Where were you?" "On the next planet out. No beauty to it at all; no system. How was yours?" "Beautiful," said the first. "It went according to the strictest semantic relationship following the purest mathematical principles. They made it easy for me." "Good." "Well, where to now?" "There's another system about four thoughts away. We're due there soon." "All right. Let's go." "What's that you have there?" "Oh, this?" replied the first. "It's a higher neural order compendium the Things here made up. It's what I used." "You can't take it with you, you know. They don't allow souvenirs." "I know." "Well?" "All right, all right. You're so good, see if you can compute the scatter probability." The first being moved imperceptably and the heavy plastoid binding of the book disappeared. The thousands of pages dropped softly, caught at the wind like hungry sails, separated, and pulled by the fingers of gravity, went their disparate ways. Here a page scuttled into a broken window of the Chrysler Building (read the names: Aabat, Aabbs, Aabbt). Here a page landed upright on the head of one of the library lions and sloughed softly to the ground (read the names: Looman, Loomana, Loomanabsky). Here another page crept in between the cracks of a pier on the riverfront, dropping gently to the caressing eddies of the water (read the names: Smith, Smitha, Smitj). And here two pages danced down into Central Park, pirouetted, promenaded, and finally came to rest against a propped-up piece of metal (read the names: Whit, Whita, Whitacomb). It was not until the dusty morning sun stirred up the breezes that they fluttered down into the shallow hole beneath, unnoticed. The writing on the metal, until then partially obscured by the papers, became legible: HERE LIES THE BODY OF THE LAST MAN ON EARTH— CHARLES J. ZZYZST GO TO HELL!

fallen

How many times the word 'fallen' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

lanes

How many times the word 'lanes' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

part

How many times the word 'part' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

lions

How many times the word 'lions' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

shield

How many times the word 'shield' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

research

How many times the word 'research' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

bedouins

How many times the word 'bedouins' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

publication

How many times the word 'publication' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

restaurants

How many times the word 'restaurants' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

hidden

How many times the word 'hidden' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

deodorants

How many times the word 'deodorants' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

visor

How many times the word 'visor' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

science

How many times the word 'science' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

actress

How many times the word 'actress' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

riding

How many times the word 'riding' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

analog

How many times the word 'analog' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

christ

How many times the word 'christ' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

seated

How many times the word 'seated' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

scientific

How many times the word 'scientific' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

pale

How many times the word 'pale' appears in the text?

... After a Few Words ... by Seaton McKettrig Illustrated by Summer [Transcriber's Note: This etext was produced from Analog October 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] This is a science-fiction story. History is a science; the other part is, as all Americans know, the most fictional field we have today. He settled himself comfortably in his seat, and carefully put the helmet on, pulling it down firmly until it was properly seated. For a moment, he could see nothing. Then his hand moved up and, with a flick of the wrist, lifted the visor. Ahead of him, in serried array, with lances erect and pennons flying, was the forward part of the column. Far ahead, he knew, were the Knights Templars, who had taken the advance. Behind the Templars rode the mailed knights of Brittany and Anjou. These were followed by King Guy of Jerusalem and the host of Poitou. He himself, Sir Robert de Bouain, was riding with the Norman and English troops, just behind the men of Poitou. Sir Robert turned slightly in his saddle. To his right, he could see the brilliant red-and-gold banner of the lion-hearted Richard of England— gules, in pale three lions passant guardant or . Behind the standard-bearer, his great war horse moving with a steady, measured pace, his coronet of gold on his steel helm gleaming in the glaring desert sun, the lions of England on his firm-held shield, was the King himself. Further behind, the Knights Hospitallers protected the rear, guarding the column of the hosts of Christendom from harassment by the Bedouins. "By our Lady!" came a voice from his left. "Three days out from Acre, and the accursed Saracens still elude us." Sir Robert de Bouain twisted again in his saddle to look at the knight riding alongside him. Sir Gaeton de l'Arc-Tombé sat tall and straight in his saddle, his visor up, his blue eyes narrowed against the glare of the sun. Sir Robert's lips formed a smile. "They are not far off, Sir Gaeton. They have been following us. As we march parallel to the seacoast, so they have been marching with us in those hills to the east." "Like the jackals they are," said Sir Gaeton. "They assail us from the rear, and they set up traps in our path ahead. Our spies tell us that the Turks lie ahead of us in countless numbers. And yet, they fear to face us in open battle." "Is it fear, or are they merely gathering their forces?" "Both," said Sir Gaeton flatly. "They fear us, else they would not dally to amass so fearsome a force. If, as our informers tell us, there are uncounted Turks to the fore, and if, as we are aware, our rear is being dogged by the Bedouin and the black horsemen of Egypt, it would seem that Saladin has at hand more than enough to overcome us, were they all truly Christian knights." "Give them time. We must wait for their attack, sir knight. It were foolhardy to attempt to seek them in their own hills, and yet they must stop us. They will attack before we reach Jerusalem, fear not." "We of Gascony fear no heathen Musselman," Sir Gaeton growled. "It's this Hellish heat that is driving me mad." He pointed toward the eastern hills. "The sun is yet low, and already the heat is unbearable." Sir Robert heard his own laugh echo hollowly within his helmet. "Perhaps 'twere better to be mad when the assault comes. Madmen fight better than men of cooler blood." He knew that the others were baking inside their heavy armor, although he himself was not too uncomfortable. Sir Gaeton looked at him with a smile that held both irony and respect. "In truth, sir knight, it is apparent that you fear neither men nor heat. Nor is your own blood too cool. True, I ride with your Normans and your English and your King Richard of the Lion's Heart, but I am a Gascon, and have sworn no fealty to him. But to side with the Duke of Burgundy against King Richard—" He gave a short, barking laugh. "I fear no man," he went on, "but if I had to fear one, it would be Richard of England." Sir Robert's voice came like a sword: steely, flat, cold, and sharp. "My lord the King spoke in haste. He has reason to be bitter against Philip of France, as do we all. Philip has deserted the field. He has returned to France in haste, leaving the rest of us to fight the Saracen for the Holy Land leaving only the contingent of his vassal the Duke of Burgundy to remain with us." "Richard of England has never been on the best of terms with Philip Augustus," said Sir Gaeton. "No, and with good cause. But he allowed his anger against Philip to color his judgment when he spoke harshly against the Duke of Burgundy. The Duke is no coward, and Richard Plantagenet well knows it. As I said, he spoke in haste." "And you intervened," said Sir Gaeton. "It was my duty." Sir Robert's voice was stubborn. "Could we have permitted a quarrel to develop between the two finest knights and warleaders in Christendom at this crucial point? The desertion of Philip of France has cost us dearly. Could we permit the desertion of Burgundy, too?" "You did what must be done in honor," the Gascon conceded, "but you have not gained the love of Richard by doing so." Sir Robert felt his jaw set firmly. "My king knows I am loyal." Sir Gaeton said nothing more, but there was a look in his eyes that showed that he felt that Richard of England might even doubt the loyalty of Sir Robert de Bouain. Sir Robert rode on in silence, feeling the movement of the horse beneath him. There was a sudden sound to the rear. Like a wash of the tide from the sea came the sound of Saracen war cries and the clash of steel on steel mingled with the sounds of horses in agony and anger. Sir Robert turned his horse to look. The Negro troops of Saladin's Egyptian contingent were thundering down upon the rear! They clashed with the Hospitallers, slamming in like a rain of heavy stones, too close in for the use of bows. There was only the sword against armor, like the sound of a thousand hammers against a thousand anvils. "Stand fast! Stand fast! Hold them off!" It was the voice of King Richard, sounding like a clarion over the din of battle. Sir Robert felt his horse move, as though it were urging him on toward the battle, but his hand held to the reins, keeping the great charger in check. The King had said "Stand fast!" and this was no time to disobey the orders of Richard. The Saracen troops were coming in from the rear, and the Hospitallers were taking the brunt of the charge. They fought like madmen, but they were slowly being forced back. The Master of the Hospitallers rode to the rear, to the King's standard, which hardly moved in the still desert air, now that the column had stopped moving. The voice of the Duke of Burgundy came to Sir Robert's ears. "Stand fast. The King bids you all to stand fast," said the duke, his voice fading as he rode on up the column toward the knights of Poitou and the Knights Templars. The Master of the Hospitallers was speaking in a low, urgent voice to the King: "My lord, we are pressed on by the enemy and in danger of eternal infamy. We are losing our horses, one after the other!" "Good Master," said Richard, "it is you who must sustain their attack. No one can be everywhere at once." The Master of the Hospitallers nodded curtly and charged back into the fray. The King turned to Sir Baldwin de Carreo, who sat ahorse nearby, and pointed toward the eastern hills. "They will come from there, hitting us in the flank; we cannot afford to amass a rearward charge. To do so would be to fall directly into the hands of the Saracen." A voice very close to Sir Robert said: "Richard is right. If we go to the aid of the Hospitallers, we will expose the column to a flank attack." It was Sir Gaeton. "My lord the King," Sir Robert heard his voice say, "is right in all but one thing. If we allow the Egyptians to take us from the rear, there will be no need for Saladin and his Turks to come down on our flank. And the Hospitallers cannot hold for long at this rate. A charge at full gallop would break the Egyptian line and give the Hospitallers breathing time. Are you with me?" "Against the orders of the King?" "The King cannot see everything! There are times when a man must use his own judgment! You said you were afraid of no man. Are you with me?" After a moment's hesitation, Sir Gaeton couched his lance. "I'm with you, sir knight! Live or die, I follow! Strike and strike hard!" "Forward then!" Sir Robert heard himself shouting. "Forward for St. George and for England!" "St. George and England!" the Gascon echoed. Two great war horses began to move ponderously forward toward the battle lines, gaining momentum as they went. Moving in unison, the two knights, their horses now at a fast trot, lowered their lances, picking their Saracen targets with care. Larger and larger loomed the Egyptian cavalrymen as the horses changed pace to a thundering gallop. The Egyptians tried to dodge, as they saw, too late, the approach of the Christian knights. Sir Robert felt the shock against himself and his horse as the steel tip of the long ash lance struck the Saracen horseman in the chest. Out of the corner of his eye, he saw that Sir Gaeton, too, had scored. The Saracen, impaled on Sir Robert's lance, shot from the saddle as he died. His lighter armor had hardly impeded the incoming spear-point, and now his body dragged it down as he dropped toward the desert sand. Another Moslem cavalryman was charging in now, swinging his curved saber, taking advantage of Sir Robert's sagging lance. There was nothing else to do but drop the lance and draw his heavy broadsword. His hand grasped it, and it came singing from its scabbard. The Egyptian's curved sword clanged against Sir Robert's helm, setting his head ringing. In return, the knight's broadsword came about in a sweeping arc, and the Egyptian's horse rode on with the rider's headless body. Behind him, Sir Robert heard further cries of "St. George and England!" The Hospitallers, taking heart at the charge, were going in! Behind them came the Count of Champagne, the Earl of Leister, and the Bishop of Beauvais, who carried a great warhammer in order that he might not break Church Law by shedding blood. Sir Robert's own sword rose and fell, cutting and hacking at the enemy. He himself felt a dreamlike detachment, as though he were watching the battle rather than participating in it. But he could see that the Moslems were falling back before the Christian onslaught. And then, quite suddenly, there seemed to be no foeman to swing at. Breathing heavily, Sir Robert sheathed his broadsword. Beside him, Sir Gaeton did the same, saying: "It will be a few minutes before they can regroup, sir knight. We may have routed them completely." "Aye. But King Richard will not approve of my breaking ranks and disobeying orders. I may win the battle and lose my head in the end." "This is no time to worry about the future," said the Gascon. "Rest for a moment and relax, that you may be the stronger later. Here—have an Old Kings ." He had a pack of cigarettes in his gauntleted hand, which he profferred to Sir Robert. There were three cigarettes protruding from it, one slightly farther than the others. Sir Robert's hand reached out and took that one. "Thanks. When the going gets rough, I really enjoy an Old Kings ." He put one end of the cigarette in his mouth and lit the other from the lighter in Sir Gaeton's hand. "Yes, sir," said Sir Gaeton, after lighting his own cigarette, " Old Kings are the greatest. They give a man real, deep-down smoking pleasure." "There's no doubt about it, Old Kings are a man's cigarette." Sir Robert could feel the soothing smoke in his lungs as he inhaled deeply. "That's great. When I want a cigarette, I don't want just any cigarette." "Nor I," agreed the Gascon. " Old Kings is the only real cigarette when you're doing a real man's work." "That's for sure." Sir Robert watched a smoke ring expand in the air. There was a sudden clash of arms off to their left. Sir Robert dropped his cigarette to the ground. "The trouble is that doing a real he-man's work doesn't always allow you to enjoy the fine, rich tobaccos of Old Kings right down to the very end." "No, but you can always light another later," said the Gascon knight. King Richard, on seeing his army moving suddenly toward the harassed rear, had realized the danger and had charged through the Hospitallers to get into the thick of the fray. Now the Turks were charging down from the hills, hitting—not the flank as he had expected, but the rear! Saladin had expected him to hold fast! Sir Robert and Sir Gaeton spurred their chargers toward the flapping banner of England. The fierce warrior-king of England, his mighty sword in hand, was cutting down Turks as though they were grain-stalks, but still the Saracen horde pressed on. More and more of the terrible Turks came boiling down out of the hills, their glittering scimitars swinging. Sir Robert lost all track of time. There was nothing to do but keep his own great broadsword moving, swinging like some gigantic metronome as he hacked down the Moslem foes. And then, suddenly, he found himself surrounded by the Saracens! He was isolated and alone, cut off from the rest of the Christian forces! He glanced quickly around as he slashed another Saracen from pate to breastbone. Where was Sir Gaeton? Where were the others? Where was the red-and-gold banner of Richard? He caught a glimpse of the fluttering banner far to the rear and started to fall back. And then he saw another knight nearby, a huge man who swung his sparkling blade with power and force. On his steel helm gleamed a golden coronet! Richard! And the great king, in spite of his prowess was outnumbered heavily and would, within seconds, be cut down by the Saracen horde! Without hesitation, Sir Robert plunged his horse toward the surrounded monarch, his great blade cutting a path before him. He saw Richard go down, falling from the saddle of his charger, but by that time his own sword was cutting into the screaming Saracens and they had no time to attempt any further mischief to the King. They had their hands full with Sir Robert de Bouain. He did not know how long he fought there, holding his charger motionless over the inert body of the fallen king, hewing down the screaming enemy, but presently he heard the familiar cry of "For St. George and for England" behind him. The Norman and English troops were charging in, bringing with them the banner of England! And then Richard was on his feet, cleaving the air about him with his own broadsword. Its bright edge, besmeared with Saracen blood, was biting viciously into the foe. The Turks began to fall back. Within seconds, the Christian knights were boiling around the embattled pair, forcing the Turks into retreat. And for the second time, Sir Robert found himself with no one to fight. And then a voice was saying: "You have done well this day, sir knight. Richard Plantagenet will not forget." Sir Robert turned in his saddle to face the smiling king. "My lord king, be assured that I would never forget my loyalty to my sovereign and liege lord. My sword and my life are yours whenever you call." King Richard's gauntleted hand grasped his own. "If it please God, I shall never ask your life. An earldom awaits you when we return to England, sir knight." And then the king mounted his horse and was running full gallop after the retreating Saracens. Robert took off his helmet. He blinked for a second to adjust his eyes to the relative dimness of the studio. After the brightness of the desert that the televicarion helmet had projected into his eyes, the studio seemed strangely cavelike. "How'd you like it, Bob?" asked one of the two producers of the show. Robert Bowen nodded briskly and patted the televike helmet. "It was O.K.," he said. "Good show. A little talky at the beginning, and it needs a better fade-out, but the action scenes were fine. The sponsor ought to like it—for a while, at least." "What do you mean, 'for a while'?" Robert Bowen sighed. "If this thing goes on the air the way it is, he'll lose sales." "Why? Commercial not good enough?" " Too good! Man, I've smoked Old Kings , and, believe me, the real thing never tasted as good as that cigarette did in the commercial!"

overwhelmed

How many times the word 'overwhelmed' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

tastes

How many times the word 'tastes' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

sane

How many times the word 'sane' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

pulsed

How many times the word 'pulsed' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

paroxysm

How many times the word 'paroxysm' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

guarded

How many times the word 'guarded' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

somewhat

How many times the word 'somewhat' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

ago

How many times the word 'ago' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

discrete

How many times the word 'discrete' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

february

How many times the word 'february' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

transcriber

How many times the word 'transcriber' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

wrong

How many times the word 'wrong' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

situation

How many times the word 'situation' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

shop

How many times the word 'shop' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

quibble

How many times the word 'quibble' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

caught

How many times the word 'caught' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

note

How many times the word 'note' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

liked

How many times the word 'liked' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

chained

How many times the word 'chained' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

quarrel

How many times the word 'quarrel' appears in the text?

... and it comes out here By LESTER DEL REY Illustrated by DON SIBLEY [Transcriber's Note: This etext was produced from Galaxy Science Fiction February 1951. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] There is one fact no sane man can quarrel with ... everything has a beginning and an end. But some men aren't sane; thus it isn't always so! No, you're wrong. I'm not your father's ghost, even if I do look a bit like him. But it's a longish story, and you might as well let me in. You will, you know, so why quibble about it? At least, you always have ... or do ... or will. I don't know, verbs get all mixed up. We don't have the right attitude toward tenses for a situation like this. Anyhow, you'll let me in. I did, so you will. Thanks. You think you're crazy, of course, but you'll find out you aren't. It's just that things are a bit confused. And don't look at the machine out there too long—until you get used to it, you'll find it's hard on the eyes, trying to follow where the vanes go. You'll get used to it, of course, but it will take about thirty years. You're wondering whether to give me a drink, as I remember it. Why not? And naturally, since we have the same tastes, you can make the same for me as you're having. Of course we have the same tastes—we're the same person. I'm you thirty years from now, or you're me. I remember just how you feel; I felt the same way when he—that is, of course, I or we—came back to tell me about it, thirty years ago. Here, have one of these. You'll get to like them in a couple more years. And you can look at the revenue stamp date, if you still doubt my story. You'll believe it eventually, though, so it doesn't matter. Right now, you're shocked. It's a real wrench when a man meets himself for the first time. Some kind of telepathy seems to work between two of the same people. You sense things. So I'll simply go ahead talking for half an hour or so, until you get over it. After that you'll come along with me. You know, I could try to change things around by telling what happened to me; but he—I—told me what I was going to do, so I might as well do the same. I probably couldn't help telling you the same thing in the same words, even if I tried—and I don't intend to try. I've gotten past that stage in worrying about all this. So let's begin when you get up in half an hour and come out with me. You'll take a closer look at the machine, then. Yes, it'll be pretty obvious it must be a time machine. You'll sense that, too. You've seen it, just a small little cage with two seats, a luggage compartment, and a few buttons on a dash. You'll be puzzling over what I'll tell you, and you'll be getting used to the idea that you are the man who makes atomic power practical. Jerome Boell, just a plain engineer, the man who put atomic power in every home. You won't exactly believe it, but you'll want to go along. I'll be tired of talking by then, and in a hurry to get going. So I cut off your questions, and get you inside. I snap on a green button, and everything seems to cut off around us. You can see a sort of foggy nothing surrounding the cockpit; it is probably the field that prevents passage through time from affecting us. The luggage section isn't protected, though. You start to say something, but by then I'm pressing a black button, and everything outside will disappear. You look for your house, but it isn't there. There is exactly nothing there—in fact, there is no there . You are completely outside of time and space, as best you can guess how things are. You can't feel any motion, of course. You try to reach a hand out through the field into the nothing around you and your hand goes out, all right, but nothing happens. Where the screen ends, your hand just turns over and pokes back at you. Doesn't hurt, and when you pull your arm back, you're still sound and uninjured. But it looks frightening and you don't try it again. Then it comes to you slowly that you're actually traveling in time. You turn to me, getting used to the idea. "So this is the fourth dimension?" you ask. Then you feel silly, because you'll remember that I said you'd ask that. Well, I asked it after I was told, then I came back and told it to you, and I still can't help answering when you speak. "Not exactly," I try to explain. "Maybe it's no dimension—or it might be the fifth; if you're going to skip over the so-called fourth without traveling along it, you'd need a fifth. Don't ask me. I didn't invent the machine and I don't understand it." "But...." I let it go, and so do you. If you don't, it's a good way of going crazy. You'll see later why I couldn't have invented the machine. Of course, there may have been a start for all this once. There may have been a time when you did invent the machine—the atomic motor first, then the time-machine. And when you closed the loop by going back and saving yourself the trouble, it got all tangled up. I figured out once that such a universe would need some seven or eight time and space dimensions. It's simpler just to figure that this is the way time got bent back on itself. Maybe there is no machine, and it's just easier for us to imagine it. When you spend thirty years thinking about it, as I did—and you will—you get further and further from an answer. Anyhow, you sit there, watching nothing all around you, and no time, apparently, though there is a time effect back in the luggage space. You look at your watch and it's still running. That means you either carry a small time field with you, or you are catching a small increment of time from the main field. I don't know, and you won't think about that then, either. I'm smoking, and so are you, and the air in the machine is getting a bit stale. You suddenly realize that everything in the machine is wide open, yet you haven't seen any effects of air loss. "Where are we getting our air?" you ask. "Or why don't we lose it?" "No place for it to go," I explain. There isn't. Out there is neither time nor space, apparently. How could the air leak out? You still feel gravity, but I can't explain that, either. Maybe the machine has a gravity field built in, or maybe the time that makes your watch run is responsible for gravity. In spite of Einstein, you have always had the idea that time is an effect of gravity, and I sort of agree, still. Then the machine stops—at least, the field around us cuts off. You feel a dankish sort of air replace the stale air, and you breathe easier, though we're in complete darkness, except for the weak light in the machine, which always burns, and a few feet of rough dirty cement floor around. You take another cigaret from me and you get out of the machine, just as I do. I've got a bundle of clothes and I start changing. It's a sort of simple, short-limbed, one-piece affair I put on, but it feels comfortable. "I'm staying here," I tell you. "This is like the things they wear in this century, as near as I can remember it, and I should be able to pass fairly well. I've had all my fortune—the one you make on that atomic generator—invested in such a way I can get it on using some identification I've got with me, so I'll do all right. I know they still use some kind of money, you'll see evidence of that. And it's a pretty easygoing civilization, from what I could see. We'll go up and I'll leave you. I like the looks of things here, so I won't be coming back with you." You nod, remembering I've told you about it. "What century is this, anyway?" I'd told you that, too, but you've forgotten. "As near as I can guess, it's about 2150. He told me, just as I'm telling you, that it's an interstellar civilization." You take another cigaret from me, and follow me. I've got a small flashlight and we grope through a pile of rubbish, out into a corridor. This is a sub-sub-sub-basement. We have to walk up a flight of stairs, and there is an elevator waiting, fortunately with the door open. "What about the time machine?" you ask. "Since nobody ever stole it, it's safe." We get in the elevator, and I say "first" to it. It gives out a coughing noise and the basement openings begin to click by us. There's no feeling of acceleration—some kind of false gravity they use in the future. Then the door opens, and the elevator says "first" back at us. It's obviously a service elevator and we're in a dim corridor, with nobody around. I grab your hand and shake it. "You go that way. Don't worry about getting lost; you never did, so you can't. Find the museum, grab the motor, and get out. And good luck to you." You act as if you're dreaming, though you can't believe it's a dream. You nod at me and I move out into the main corridor. A second later, you see me going by, mixed into a crowd that is loafing along toward a restaurant, or something like it, that is just opening. I'm asking questions of a man, who points, and I turn and move off. You come out of the side corridor and go down a hall, away from the restaurant. There are quiet little signs along the hall. You look at them, realizing for the first time that things have changed. Steij:neri, Faunten, Z:rgat Dispenseri. The signs are very quiet and dignified. Some of them can be decoded to stationery shops, fountains, and the like. What a zergot is, you don't know. You stop at a sign that announces: Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz! But there is only a single picture of a dull-looking metal sphere, with passengers moving up a ramp, and the office is closed. You begin to get the hang of the spelling they use, though. Now there are people around you, but nobody pays much attention to you. Why should they? You wouldn't care if you saw a man in a leopard-skin suit; you'd figure it was some part in a play and let it go. Well, people don't change much. You get up your courage and go up to a boy selling something that might be papers on tapes. "Where can I find the Museum of Science?" "Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around you, you hear some pretty normal English, but there are others using stuff as garbled as his. The educated and uneducated? I don't know. You go right until you find a big sign built into the rubbery surface of the walk: Miuzi:m *v Syens . There's an arrow pointing and you turn left. Ahead of you, two blocks on, you can see a pink building, with faint aqua trimming, bigger than most of the others. They are building lower than they used to, apparently. Twenty floors up seems about the maximum. You head for it, and find the sidewalk is marked with the information that it is the museum. You go up the steps, but you see that it seems to be closed. You hesitate for a moment, then. You're beginning to think the whole affair is complete nonsense, and you should get back to the time machine and go home. But then a guard comes to the gate. Except for the short legs in his suit and the friendly grin on his face, he looks like any other guard. What's more, he speaks pretty clearly. Everyone says things in a sort of drawl, with softer vowels and slurred consonants, but it's rather pleasant. "Help you, sir? Oh, of course. You must be playing in 'Atoms and Axioms.' The museum's closed, but I'll be glad to let you study whatever you need for realism in your role. Nice show. I saw it twice." "Thanks," you mutter, wondering what kind of civilization can produce guards as polite as that. "I—I'm told I should investigate your display of atomic generators." He beams at that. "Of course." The gate is swung to behind you, but obviously he isn't locking it. In fact, there doesn't seem to be a lock. "Must be a new part. You go down that corridor, up one flight of stairs and left. Finest display in all the known worlds. We've got the original of the first thirteen models. Professor Jonas was using them to check his latest theory of how they work. Too bad he could not explain the principle, either. Someone will, some day, though. Lord, the genius of that twentieth century inventor! It's quite a hobby with me, sir. I've read everything I could get on the period. Oh—congratulations on your pronunciation. Sounds just like some of our oldest tapes." You get away from him, finally, after some polite thanks. The building seems deserted and you wander up the stairs. There's a room on your right filled with something that proclaims itself the first truly plastic diamond former, and you go up to it. As you come near, it goes through a crazy wiggle inside, stops turning out a continual row of what seem to be bearings, and slips something the size of a penny toward you. "Souvenir," it announces in a well-modulated voice. "This is a typical gem of the twentieth century, properly cut to 58 facets, known technically as a Jaegger diamond, and approximately twenty carats in size. You can have it made into a ring on the third floor during morning hours for one-tenth credit. If you have more than one child, press the red button for the number of stones you desire." You put it in your pocket, gulping a little, and get back to the corridor. You turn left and go past a big room in which models of spaceships—from the original thing that looks like a V-2, and is labeled first Lunar rocket, to a ten-foot globe, complete with miniature manikins—are sailing about in some kind of orbits. Then there is one labeled Wep:nz , filled with everything from a crossbow to a tiny rod four inches long and half the thickness of a pencil, marked Fynal Hand Arm . Beyond is the end of the corridor, and a big place that bears a sign, Mad:lz *v Atamic Pau:r Sorsez . By that time, you're almost convinced. And you've been doing a lot of thinking about what you can do. The story I'm telling has been sinking in, but you aren't completely willing to accept it. You notice that the models are all mounted on tables and that they're a lot smaller than you thought. They seem to be in chronological order, and the latest one, marked 2147—Rincs Dyn*pat: , is about the size of a desk telephone. The earlier ones are larger, of course, clumsier, but with variations, probably depending on the power output. A big sign on the ceiling gives a lot of dope on atomic generators, explaining that this is the first invention which leaped full blown into basically final form. You study it, but it mentions casually the inventor, without giving his name. Either they don't know it, or they take it for granted that everyone does, which seems more probable. They call attention to the fact that they have the original model of the first atomic generator built, complete with design drawings, original manuscript on operation, and full patent application. They state that it has all major refinements, operating on any fuel, producing electricity at any desired voltage up to five million, any chosen cyclic rate from direct current to one thousand megacycles, and any amperage up to one thousand, its maximum power output being fifty kilowatts, limited by the current-carrying capacity of the outputs. They also mention that the operating principle is still being investigated, and that only such refinements as better alloys and the addition of magnetric and nucleatric current outlets have been added since the original. So you go to the end and look over the thing. It's simply a square box with a huge plug on each side, and a set of vernier controls on top, plus a little hole marked, in old-style spelling, Drop BBs or wire here . Apparently that's the way it's fueled. It's about one foot on each side. "Nice," the guard says over your shoulder. "It finally wore out one of the cathogrids and we had to replace that, but otherwise it's exactly as the great inventor made it. And it still operates as well as ever. Like to have me tell you about it?" "Not particularly," you begin, and then realize bad manners might be conspicuous here. While you're searching for an answer, the guard pulls something out of his pocket and stares at it. "Fine, fine. The mayor of Altasecarba—Centaurian, you know—is arriving, but I'll be back in about ten minutes. He wants to examine some of the weapons for a monograph on Centaurian primitives compared to nineteenth century man. You'll pardon me?" You pardon him pretty eagerly and he wanders off happily. You go up to the head of the line, to that Rinks Dynapattuh, or whatever it transliterates to. That's small and you can carry it. But the darned thing is absolutely fixed. You can't see any bolts, but you can't budge it, either. You work down the line. It'd be foolish to take the early model if you can get one with built-in magnetic current terminals—Ehrenhaft or some other principle?—and nuclear binding-force energy terminals. But they're all held down by the same whatchamaycallem effect. And, finally, you're right back beside the original first model. It's probably bolted down, too, but you try it tentatively and you find it moves. There's a little sign under it, indicating you shouldn't touch it, since the gravostatic plate is being renewed. Well, you won't be able to change the time cycle by doing anything I haven't told you, but a working model such as that is a handy thing. You lift it; it only weighs about fifty pounds! Naturally, it can be carried. You expect a warning bell, but nothing happens. As a matter of fact, if you'd stop drinking so much of that scotch and staring at the time machine out there now, you'd hear what I'm saying and know what will happen to you. But of course, just as I did, you're going to miss a lot of what I say from now on, and have to find out for yourself. But maybe some of it helps. I've tried to remember how much I remembered, after he told me, but I can't be sure. So I'll keep on talking. I probably can't help it, anyhow. Pre-set, you might say. Well, you stagger down the corridor, looking out for the guard, but all seems clear. Then you hear his voice from the weapons room. You bend down and try to scurry past, but you know you're in full view. Nothing happens, though. You stumble down the stairs, feeling all the futuristic rays in the world on your back, and still nothing happens. Ahead of you, the gate is closed. You reach it and it opens obligingly by itself. You breathe a quick sigh of relief and start out onto the street. Then there's a yell behind you. You don't wait. You put one leg in front of the other and you begin racing down the walk, ducking past people, who stare at you with expressions you haven't time to see. There's another yell behind you. Something goes over your head and drops on the sidewalk just in front of your feet, with a sudden ringing sound. You don't wait to find out about that, either. Somebody reaches out a hand to catch you and you dart past. The street is pretty clear now and you jolt along, with your arms seeming to come out of the sockets, and that atomic generator getting heavier at every step. Out of nowhere, something in a blue uniform about six feet tall and on the beefy side appears—and the badge hasn't changed much. The cop catches your arm and you know you're not going to get away, so you stop. "You can't exert yourself that hard in this heat, fellow," the cop says. "There are laws against that, without a yellow sticker. Here, let me grab you a taxi." Reaction sets in a bit and your knees begin to buckle, but you shake your head and come up for air. "I—I left my money home," you begin. The cop nods. "Oh, that explains it. Fine, I won't have to give you an appearance schedule. But you should have come to me." He reaches out and taps a pedestrian lightly on the shoulder. "Sir, an emergency request. Would you help this gentleman?" The pedestrian grins, looks at his watch, and nods. "How far?" You did notice the name of the building from which you came and you mutter it. The stranger nods again, reaches out and picks up the other side of the generator, blowing a little whistle the cop hands him. Pedestrians begin to move aside, and you and the stranger jog down the street at a trot, with a nice clear path, while the cop stands beaming at you both. That way, it isn't so bad. And you begin to see why I decided I might like to stay in the future. But all the same, the organized cooperation here doesn't look too good. The guard can get the same and be there before you. And he is. He stands just inside the door of the building as you reach it. The stranger lifts an eyebrow and goes off at once when you nod at him, not waiting for thanks. And the guard comes up, holding some dinkus in his hand, about the size of a big folding camera and not too dissimilar in other ways. He snaps it open and you get set to duck. "You forgot the prints, monograph, and patent applications," he says. "They go with the generator—we don't like to have them separated. A good thing I knew the production office of 'Atoms and Axioms' was in this building. Just let us know when you're finished with the model and we'll pick it up." You swallow several sets of tonsils you had removed years before, and take the bundle of papers he hands you out of the little case. He pumps you for some more information, which you give him at random. It seems to satisfy your amiable guard friend. He finally smiles in satisfaction and heads back to the museum. You still don't believe it, but you pick up the atomic generator and the information sheets, and you head down toward the service elevator. There is no button on it. In fact, there's no door there. You start looking for other doors or corridors, but you know this is right. The signs along the halls are the same as they were. Then there's a sort of cough and something dilates in the wall. It forms a perfect door and the elevator stands there waiting. You get in, gulping out something about going all the way down, and then wonder how a machine geared for voice operation can make anything of that. What the deuce would that lowest basement be called? But the elevator has closed and is moving downward in a hurry. It coughs again and you're at the original level. You get out—and realize you don't have a light. You'll never know what you stumbled over, but, somehow, you move back in the direction of the time machine, bumping against boxes, staggering here and there, and trying to find the right place by sheer feel. Then a shred of dim light appears; it's the weak light in the time machine. You've located it. You put the atomic generator in the luggage space, throw the papers down beside it, and climb into the cockpit, sweating and mumbling. You reach forward toward the green button and hesitate. There's a red one beside it and you finally decide on that. Suddenly, there's a confused yell from the direction of the elevator and a beam of light strikes against your eyes, with a shout punctuating it. Your finger touches the red button. You'll never know what the shouting was about—whether they finally doped out the fact that they'd been robbed, or whether they were trying to help you. You don't care which it is. The field springs up around you and the next button you touch—the one on the board that hasn't been used so far—sends you off into nothingness. There is no beam of light, you can't hear a thing, and you're safe. It isn't much of a trip back. You sit there smoking and letting your nerves settle back to normal. You notice a third set of buttons, with some pencil marks over them—"Press these to return to yourself 30 years"—and you begin waiting for the air to get stale. It doesn't because there is only one of you this time. Instead, everything flashes off and you're sitting in the machine in your own back yard. You'll figure out the cycle in more details later. You get into the machine in front of your house, go to the future in the sub-basement, land in your back yard, and then hop back thirty years to pick up yourself, landing in front of your house. Just that. But right then, you don't care. You jump out and start pulling out that atomic generator and taking it inside. It isn't hard to disassemble, but you don't learn a thing; just some plates of metal, some spiral coils, and a few odds and ends—all things that can be made easily enough, all obviously of common metals. But when you put it together again, about an hour later, you notice something. Everything in it is brand-new and there's one set of copper wires missing! It won't work. You put some #12 house wire in, exactly like the set on the other side, drop in some iron filings, and try it again. And with the controls set at 120 volts, 60 cycles and 15 amperes, you get just that. You don't need the power company any more. And you feel a little happier when you realize that the luggage space wasn't insulated from time effects by a field, so the motor has moved backward in time, somehow, and is back to its original youth—minus the replaced wires the guard mentioned—which probably wore out because of the makeshift job you've just done. But you begin getting more of a jolt when you find that the papers are all in your own writing, that your name is down as the inventor, and that the date of the patent application is 1951. It will begin to soak in, then. You pick up an atomic generator in the future and bring it back to the past—your present—so that it can be put in the museum with you as the inventor so you can steal it to be the inventor. And you do it in a time machine which you bring back to yourself to take yourself into the future to return to take back to yourself.... Who invented what? And who built which? Before long, your riches from the generator are piling in. Little kids from school are coming around to stare at the man who changed history and made atomic power so common that no nation could hope to be anything but a democracy and a peaceful one—after some of the worst times in history for a few years. Your name eventually becomes as common as Ampere, or Faraday, or any other spelled without a capital letter. But you're thinking of the puzzle. You can't find any answer. One day you come across an old poem—something about some folks calling it evolution and others calling it God. You go out, make a few provisions for the future, and come back to climb into the time machine that's waiting in the building you had put around it. Then you'll be knocking on your own door, thirty years back—or right now, from your view—and telling your younger self all these things I'm telling you. But now.... Well, the drinks are finished. You're woozy enough to go along with me without protest, and I want to find out just why those people up there came looking for you and shouting, before the time machine left. Let's go.

lester

How many times the word 'lester' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

mapping

How many times the word 'mapping' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

shattered

How many times the word 'shattered' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

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A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

prevention

How many times the word 'prevention' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

publication

How many times the word 'publication' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

egg

How many times the word 'egg' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

silently

How many times the word 'silently' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

christ

How many times the word 'christ' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

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How many times the word 'english' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

devil

How many times the word 'devil' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

evidence

How many times the word 'evidence' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

form

How many times the word 'form' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

weigh

How many times the word 'weigh' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

rain

How many times the word 'rain' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

behind

How many times the word 'behind' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

act

How many times the word 'act' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

unprecedented

How many times the word 'unprecedented' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

clutched

How many times the word 'clutched' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

hanging

How many times the word 'hanging' appears in the text?

A Coffin for Jacob By EDWARD W. LUDWIG Illustrated by EMSH [Transcriber's Note: This etext was produced from Galaxy Science Fiction May 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] With never a moment to rest, the pursuit through space felt like a game of hounds and hares ... or was it follow the leader? Ben Curtis eased his pale, gaunt body through the open doorway of the Blast Inn, the dead man following silently behind him. His fear-borne gaze traveled into the dimly illumined Venusian gin mill. The place was like an evil caldron steaming with a brew whose ingredients had been culled from the back corners of three planets. Most of the big room lay obscured behind a shimmering veil of tobacco smoke and the sweet, heavy fumes of Martian Devil's Egg. Here and there, Ben saw moving figures. He could not tell if they were Earthmen, Martians or Venusians. Someone tugged at his greasy coat. He jumped, thinking absurdly that it was the dead man's hand. " Coma esta, senor? " a small voice piped. " Speken die Deutsch? Desirez-vous d'amour? Da? Nyet? " Ben looked down. The speaker was an eager-eyed Martian boy of about ten. He was like a red-skinned marionette with pipestem arms and legs, clad in a torn skivvy shirt and faded blue dungarees. "I'm American," Ben muttered. "Ah, buena ! I speak English tres fine, senor . I have Martian friend, she tres pretty and tres fat. She weigh almost eighty pounds, monsieur . I take you to her, si ?" Ben shook his head. He thought, I don't want your Martian wench. I don't want your opium or your Devil's Egg or your Venusian kali. But if you had a drug that'd bring a dead man to life, I'd buy and pay with my soul. "It is deal, monsieur ? Five dollars or twenty keelis for visit Martian friend. Maybe you like House of Dreams. For House of Dreams—" "I'm not buying." The dirty-faced kid shrugged. "Then I show you to good table,— tres bien . I do not charge you, senor ." The boy grabbed his hand. Because Ben could think of no reason for resisting, he followed. They plunged into shifting layers of smoke and through the drone of alcohol-cracked voices. They passed the bar with its line of lean-featured, slit-eyed Earthmen—merchant spacemen. They wormed down a narrow aisle flanked by booths carved from Venusian marble that jutted up into the semi-darkness like fog-blanketed tombstones. Several times, Ben glimpsed the bulky figures of CO 2 -breathing Venusians, the first he'd ever seen. They were smoky gray, scaly, naked giants, toads in human shape. They stood solitary and motionless, aloof, their green-lidded eyes unblinking. They certainly didn't look like telepaths, as Ben had heard they were, but the thought sent a fresh rivulet of fear down his spine. Once he spied a white-uniformed officer of Hoover City's Security Police. The man was striding down an aisle, idly tapping his neuro-club against the stone booths. Keep walking , Ben told himself. You look the same as anyone else here. Keep walking. Look straight ahead. The officer passed. Ben breathed easier. "Here we are, monsieur ," piped the Martian boy. "A tres fine table. Close in the shadows." Ben winced. How did this kid know he wanted to sit in the shadows? Frowning, he sat down—he and the dead man. He listened to the lonely rhythms of the four-piece Martian orchestra. The Martians were fragile, doll-like creatures with heads too large for their spindly bodies. Their long fingers played upon the strings of their cirillas or crawled over the holes of their flutes like spider legs. Their tune was sad. Even when they played an Earth tune, it still seemed a song of old Mars, charged with echoes of lost voices and forgotten grandeur. For an instant, Ben's mind rose above the haunting vision of the dead man. He thought, What are they doing here, these Martians? Here, in a smoke-filled room under a metalite dome on a dust-covered world? Couldn't they have played their music on Mars? Or had they, like me, felt the challenge of new worlds? He sobered. It didn't matter. He ordered a whiskey from a Chinese waiter. He wet his lips but did not drink. His gaze wandered over the faces of the Inn's other occupants. You've got to find him , he thought. You've got to find the man with the red beard. It's the only way you can escape the dead man. The dead man was real. His name was Cobb. He was stout and flabby and about forty and he hated spacemen. His body was buried now—probably in the silent gray wastes outside Luna City. But he'd become a kind of invisible Siamese twin, as much a part of Ben as sight in his eyes. Sometimes the image would be shuffling drunkenly beside him, its lips spitting whiskey-slurred curses. Again, its face would be a pop-eyed mask of surprise as Ben's fist thudded into its jaw. More often, the face would be frozen in the whiteness of death. The large eyes would stare. Blood would trickle from a corner of the gaping mouth. You can forget a living man. You can defeat him or submit to him or ignore him, and the matter is over and done. You can't escape from a memory that has burned into your mind. It had begun a week ago in Luna City. The flight from White Sands had been successful. Ben, quietly and moderately, wanted to celebrate. He stopped alone in a rocketfront bar for a beer. The man named Cobb plopped his portly and unsteady posterior on the stool next to him. "Spacemen," he muttered, "are getting like flies. Everywhere, all you see's spacemen." He was a neatly dressed civilian. Ben smiled. "If it weren't for spacemen, you wouldn't be here." "The name's Cobb." The man hiccoughed. "Spacemen in their white monkey suits. They think they're little tin gods. Betcha you think you're a little tin god." He downed a shot of whiskey. Ben stiffened. He was twenty-four and dressed in the white, crimson-braided uniform of the Odyssey's junior astrogation officer. He was three months out of the Academy at White Sands and the shining uniform was like a key to all the mysteries of the Universe. He'd sought long for that key. At the age of five—perhaps in order to dull the memory of his parents' death in a recent strato-jet crash—he'd spent hours watching the night sky for streaking flame-tails of Moon rockets. At ten, he'd ground his first telescope. At fourteen, he'd converted an abandoned shed on the government boarding-school grounds to a retreat which housed his collection of astronomy and rocketry books. At sixteen, he'd spent every weekend holiday hitchhiking from Boys Town No. 5 in the Catskills to Long Island Spaceport. There, among the grizzled veterans of the old Moon Patrol, he'd found friends who understood his dream and who later recommended his appointment to the U. S. Academy for the Conquest of Space. And a month ago, he'd signed aboard the Odyssey —the first ship, it was rumored, equipped to venture as far as the asteroids and perhaps beyond. Cobb was persistent: "Damn fools shoulda known enough to stay on Earth. What the hell good is it, jumpin' from planet to planet?" The guy's drunk , Ben thought. He took his drink and moved three stools down the bar. Cobb followed. "You don't like the truth, eh, kid? You don't like people to call you a sucker." Ben rose and started to leave the bar, but Cobb grabbed his arm and held him there. "Thas what you are—a sucker. You're young now. Wait ten years. You'll be dyin' of radiation rot or a meteor'll get you. Wait and see, sucker!" Until this instant, Ben had suppressed his anger. Now, suddenly and without warning, it welled up into savage fury. His fist struck the man on the chin. Cobb's eyes gaped in shocked horror. He spun backward. His head cracked sickeningly on the edge of the bar. The sound was like a punctuation mark signaling the end of life. He sank to the floor, eyes glassy, blood tricking down his jaw. Ben knew that he was dead. Then, for a single absurd second, Ben was seized with terror—just as, a moment before, he'd been overwhelmed with anger. He ran. For some twenty minutes, he raced through a dizzying, nightmare world of dark rocketfront alleys and shouting voices and pursuing feet. At last, abruptly, he realized that he was alone and in silence. He saw that he was still on the rocketfront, but in the Tycho-ward side of the city. He huddled in a dark corner of a loading platform and lit a cigarette. A thousand stars—a thousand motionless balls of silver fire—shone above him through Luna City's transparent dome. He was sorry he'd hit Cobb, of course. He was not sorry he'd run. Escaping at least gave him a power of choice, of decision. You can do two things , he thought. You can give yourself up, and that's what a good officer would do. That would eliminate the escape charge. You'd get off with voluntary manslaughter. Under interplanetary law, that would mean ten years in prison and a dishonorable discharge. And then you'd be free. But you'd be through with rockets and space. They don't want new men over thirty-four for officers on rockets or even for third-class jet-men on beat-up freighters—they don't want convicted killers. You'd get the rest of the thrill of conquering space through video and by peeking through electric fences of spaceports. Or— There were old wives' tales of a group of renegade spacemen who operated from the Solar System's frontiers. The spacemen weren't outlaws. They were misfits, rejectees from the clearing houses on Earth. And whereas no legally recognized ship had ventured past Mars, the souped-up renegade rigs had supposedly hit the asteroids. Their headquarters was Venus. Their leader—a subject of popular and fantastic conjecture in the men's audiozines—was rumored to be a red-bearded giant. So , Ben reflected, you can take a beer-and-pretzels tale seriously. You can hide for a couple of days, get rid of your uniform, change your name. You can wait for a chance to get to Venus. To hell with your duty. You can try to stay in space, even if you exile yourself from Earth. After all, was it right for a single second, a single insignificant second, to destroy a man's life and his dream? He was lucky. He found a tramp freighter whose skipper was on his last flight before retirement. Discipline was lax, investigation of new personnel even more so. Ben Curtis made it to Venus. There was just one flaw in his decision. He hadn't realized that the memory of the dead man's face would haunt him, torment him, follow him as constantly as breath flowed into his lungs. But might not the rumble of atomic engines drown the murmuring dead voice? Might not the vision of alien worlds and infinite spaceways obscure the dead face? So now he sat searching for a perhaps nonexistent red-bearded giant, and hoping and doubting and fearing, all at once. "You look for someone, senor ?" He jumped. "Oh. You still here?" " Oui. " The Martian kid grinned, his mouth full of purple teeth. "I keep you company on your first night in Hoover City, n'est-ce-pas ?" "This isn't my first night here," Ben lied. "I've been around a while." "You are spacemen?" Ben threw a fifty-cent credit piece on the table. "Here. Take off, will you?" Spiderlike fingers swept down upon the coin. " Ich danke, senor. You know why city is called Hoover City?" Ben didn't answer. "They say it is because after women come, they want first thing a thousand vacuum cleaners for dust. What is vacuum cleaner, monsieur ?" Ben raised his hand as if to strike the boy. " Ai-yee , I go. You keep listen to good Martian music." The toothpick of a body melted into the semi-darkness. Minutes passed. There were two more whiskeys. A ceaseless parade of faces broke through the smoky veil that enclosed him—reddish balloon faces, scaly reptilian faces, white-skinned, slit-eyed faces, and occasionally a white, rouged, powdered face. But nowhere was there a face with a red beard. A sense of hopelessness gripped Ben Curtis. Hoover City was but one of a dozen cities of Venus. Each had twenty dives such as this. He needed help. But his picture must have been 'scoped to Venusian visiscreens. A reward must have been offered for his capture. Whom could he trust? The Martian kid, perhaps? Far down the darkened aisle nearest him, his eyes caught a flash of white. He tensed. Like the uniform of a Security Policeman, he thought. His gaze shifted to another aisle and another hint of whiteness. And then he saw another and another and another. Each whiteness became brighter and closer, like shrinking spokes of a wheel with Ben as their focal point. You idiot! The damned Martian kid! You should have known! Light showered the room in a dazzling explosion. Ben, half blinded, realized that a broad circle of unshaded globes in the ceiling had been turned on. The light washed away the room's strangeness and its air of brooding wickedness, revealing drab concrete walls and a debris-strewn floor. Eyes blinked and squinted. There were swift, frightened movements and a chorus of angry murmurs. The patrons of the Blast Inn were like tatter-clad occupants of a house whose walls have been ripped away. Ben Curtis twisted his lean body erect. His chair tumbled backward, falling. The white-clad men charged, neuro-clubs upraised. A woman screamed. The music ceased. The Martian orchestra slunk with feline stealth to a rear exit. Only the giant Venusians remained undisturbed. They stood unmoving, their staring eyes shifting lazily in Ben's direction. "Curtis!" one of the policemen yelled. "You're covered! Hold it!" Ben whirled away from the advancing police, made for the exit into which the musicians had disappeared. A hissing sound traveled past his left ear, a sound like compressed air escaping from a container. A dime-sized section of the concrete wall ahead of him crumbled. He stumbled forward. They were using deadly neuro-pistols now, not the mildly stunning neuro-clubs. Another hiss passed his cheek. He was about twelve feet from the exit. Another second , his brain screamed. Just another second— Or would the exits be guarded? He heard the hiss. It hit directly in the small of his back. There was no pain, just a slight pricking sensation, like the shallow jab of a needle. He froze as if yanked to a stop by a noose. His body seemed to be growing, swelling into balloon proportions. He knew that the tiny needle had imbedded itself deep in his flesh, knew that the paralyzing mortocain was spreading like icy fire into every fiber and muscle of his body. He staggered like a man of stone moving in slow motion. He'd have fifteen—maybe twenty—seconds before complete lethargy of mind and body overpowered him. In the dark world beyond his fading consciousness, he heard a voice yell, "Turn on the damn lights!" Then a pressure and a coldness were on his left hand. He realized that someone had seized it. A soft feminine voice spoke to him. "You're wounded? They hit you?" "Yes." His thick lips wouldn't let go of the word. "You want to escape—even now?" "Yes." "You may die if you don't give yourself up." "No, no." He tried to stumble toward the exit. "All right then. Not that way. Here, this way." Heavy footsteps thudded toward them. A few yards away, a flashlight flicked on. Hands were guiding him. He was aware of being pushed and pulled. A door closed behind him. The glare of the flashlight faded from his vision—if he still had vision. "You're sure?" the voice persisted. "I'm sure," Ben managed to say. "I have no antidote. You may die." His mind fought to comprehend. With the anti-paralysis injection, massage and rest, a man could recover from the effects of mortocain within half a day. Without treatment, the paralysis could spread to heart and lungs. It could become a paralysis of death. An effective weapon: the slightest wound compelled the average criminal to surrender at once. "Anti ... anti ..." The words were as heavy as blobs of mercury forced from his throat. "No ... I'm sure ... sure." He didn't hear the answer or anything else. Ben Curtis had no precise sensation of awakening. Return to consciousness was an intangible evolution from a world of black nothingness to a dream-like state of awareness. He felt the pressure of hands on his naked arms and shoulders, hands that massaged, manipulated, fought to restore circulation and sensitivity. He knew they were strong hands. Their strength seemed to transfer itself to his own body. For a long time, he tried to open his eyes. His lids felt welded shut. But after a while, they opened. His world of darkness gave way to a translucent cloak of mist. A round, featureless shape hovered constantly above him—a face, he supposed. He tried to talk. Although his lips moved slightly, the only sound was a deep, staccato grunting. But he heard someone say, "Don't try to talk." It was the same gentle voice he'd heard in the Blast Inn. "Don't talk. Just lie still and rest. Everything'll be all right." Everything all right , he thought dimly. There were long periods of lethargy when he was aware of nothing. There were periods of light and of darkness. Gradually he grew aware of things. He realized that the soft rubber mouth of a spaceman's oxygen mask was clamped over his nose. He felt the heat of electric blankets swathed about his body. Occasionally a tube would be in his mouth and he would taste liquid food and feel a pleasant warmth in his stomach. Always, it seemed, the face was above him, floating in the obscuring mist. Always, it seemed, the soft voice was echoing in his ears: "Swallow this now. That's it. You must have food." Or, "Close your eyes. Don't strain. It won't be long. You're getting better." Better , he'd think. Getting better.... At last, after one of the periods of lethargy, his eyes opened. The mist brightened, then dissolved. He beheld the cracked, unpainted ceiling of a small room, its colorless walls broken with a single, round window. He saw the footboard of his aluminite bed and the outlines of his feet beneath a faded blanket. Finally he saw the face and figure that stood at his side. "You are better?" the kind voice asked. The face was that of a girl probably somewhere between twenty-five and thirty. Her features, devoid of makeup, had an unhealthy-looking pallor, as if she hadn't used a sunlamp for many weeks. Yet, at the same time, her firm slim body suggested a solidity and a strength. Her straight brown hair was combed backward, tight upon her scalp, and drawn together in a knot at the nape of her neck. "I—I am better," he murmured. His words were still slow and thick. "I am going to live?" "You will live." He thought for a moment. "How long have I been here?" "Nine days." "You took care of me?" He noted the deep, dark circles beneath her sleep-robbed eyes. She nodded. "You're the one who carried me when I was shot?" "Yes." "Why?" Suddenly he began to cough. Breath came hard. She held the oxygen mask in readiness. He shook his head, not wanting it. "Why?" he asked again. "It would be a long story. Perhaps I'll tell you tomorrow." A new thought, cloaked in sudden fear, entered his murky consciousness. "Tell me, will—will I be well again? Will I be able to walk?" He lay back then, panting, exhausted. "You have nothing to worry about," the girl said softly. Her cool hand touched his hot forehead. "Rest. We'll talk later." His eyes closed and breath came easier. He slept. When he next awoke, his gaze turned first to the window. There was light outside, but he had no way of knowing if this was morning, noon or afternoon—or on what planet. He saw no white-domed buildings of Hoover City, no formal lines of green-treed parks, no streams of buzzing gyro-cars. There was only a translucent and infinite whiteness. It was as if the window were set on the edge of the Universe overlooking a solemn, silent and matterless void. The girl entered the room. "Hi," she said, smiling. The dark half-moons under her eyes were less prominent. Her face was relaxed. She increased the pressure in his rubberex pillows and helped him rise to a sitting position. "Where are we?" he asked. "Venus." "We're not in Hoover City?" "No." He looked at her, wondering. "You won't tell me?" "Not yet. Later, perhaps." "Then how did you get me here? How did we escape from the Inn?" She shrugged. "We have friends who can be bribed. A hiding place in the city, the use of a small desert-taxi, a pass to leave the city—these can be had for a price." "You'll tell me your name?" "Maggie." "Why did you save me?" Her eyes twinkled mischievously. "Because you're a good astrogator." His own eyes widened. "How did you know that?" She sat on a plain chair beside his bed. "I know everything about you, Lieutenant Curtis." "How did you learn my name? I destroyed all my papers—" "I know that you're twenty-four. Born July 10, 1971. Orphaned at four, you attended Boys Town in the Catskills till you were 19. You graduated from the Academy at White Sands last June with a major in Astrogation. Your rating for the five-year period was 3.8—the second highest in a class of fifty-seven. Your only low mark in the five years was a 3.2 in History of Martian Civilization. Want me to go on?" Fascinated, Ben nodded. "You were accepted as junior astrogation officer aboard the Odyssey . You did well on your flight from Roswell to Luna City. In a barroom fight in Luna City, you struck and killed a man named Arthur Cobb, a pre-fab salesman. You've been charged with second degree murder and escape. A reward of 5,000 credits has been offered for your capture. You came to Hoover City in the hope of finding a renegade group of spacemen who operate beyond Mars. You were looking for them in the Blast Inn." He gaped incredulously, struggling to rise from his pillows. "I—don't get it." "There are ways of finding out what we want to know. As I told you, we have many friends." He fell back into his pillows, breathing hard. She rose quickly. "I'm sorry," she said. "I shouldn't have told you yet. I felt so happy because you're alive. Rest now. We'll talk again soon." "Maggie, you—you said I'd live. You didn't say I'd be able to walk again." She lowered her gaze. "I hope you'll be able to." "But you don't think I will, do you?" "I don't know. We'll try walking tomorrow. Don't think about it now. Rest." He tried to relax, but his mind was a vortex of conjecture. "Just one more question," he almost whispered. "Yes?" "The man I killed—did he have a wife?" She hesitated. He thought, Damn it, of all the questions, why did I ask that? Finally she said, "He had a wife." "Children?" "Two. I don't know their ages." She left the room. He sank into the softness of his bed. As he turned over on his side, his gaze fell upon an object on a bureau in a far corner of the room. He sat straight up, his chest heaving. The object was a tri-dimensional photo of a rock-faced man in a merchant spaceman's uniform. He was a giant of a man with a neatly trimmed red beard ! Ben stared at the photo for a long time. At length, he slipped into restless sleep. Images of faces and echoes of words spun through his brain. The dead man returned to him. Bloodied lips cursed at him. Glassy eyes accused him. Somewhere were two lost children crying in the night. And towering above him was a red-bearded man whose great hands reached down and beckoned to him. Ben crawled through the night on hands and knees, his legs numb and useless. The crying of the children was a chilling wail in his ears. His head rose and turned to the red-bearded man. His pleading voice screamed out to him in a thick, harsh cackle. Yet even as he screamed, the giant disappeared, to be replaced by white-booted feet stomping relentlessly toward him. He awoke still screaming.... A night without darkness passed. Ben lay waiting for Maggie's return, a question already formed in his mind. She came and at once he asked, "Who is the man with the red beard?" She smiled. "I was right then when I gave you that thumbnail biog. You were looking for him, weren't you?" "Who is he?" She sat on the chair beside him. "My husband," she said softly. He began to understand. "And your husband needs an astrogator? That's why you saved me?" "We need all the good men we can get." "Where is he?" She cocked her head in mock suspicion. "Somewhere between Mercury and Pluto. He's building a new base for us—and a home for me. When his ship returns, I'll be going to him." "Why aren't you with him now?" "He said unexplored space is no place for a woman. So I've been studying criminal reports and photos from the Interplanetary Bureau of Investigation and trying to find recruits like yourself. You know how we operate?" He told her the tales he'd heard. She nodded. "There are quite a few of us now—about a thousand—and a dozen ships. Our base used to be here on Venus, down toward the Pole. The dome we're in now was designed and built by us a few years ago after we got pushed off Mars. We lost a few men in the construction, but with almost every advance in space, someone dies." "Venus is getting too civilized. We're moving out and this dome is only a temporary base when we have cases like yours. The new base—I might as well tell you it's going to be an asteroid. I won't say which one." "Don't get the idea that we're outlaws. Sure, about half our group is wanted by the Bureau, but we make honest livings. We're just people like yourself and Jacob." "Jacob? Your husband?" She laughed. "Makes you think of a Biblical character, doesn't it? Jacob's anything but that. And just plain 'Jake' reminds one of a grizzled old uranium prospector and he isn't like that, either." She lit a cigarette. "Anyway, the wanted ones stay out beyond the frontiers. Jacob and those like him can never return to Earth—not even to Hoover City—except dead. The others are physical or psycho rejects who couldn't get clearance if they went back to Earth. They know nothing but rocketing and won't give up. They bring in our ships to frontier ports like Hoover City to unload cargo and take on supplies." "Don't the authorities object?" "Not very strongly. The I. B. I. has too many problems right here to search the whole System for a few two-bit crooks. Besides, we carry cargoes of almost pure uranium and tungsten and all the stuff that's scarce on Earth and Mars and Venus. Nobody really cares whether it comes from the asteroids or Hades. If we want to risk our lives mining it, that's our business." She pursed her lips. "But if they guessed how strong we are or that we have friends planted in the I. B. I.—well, things might be different. There probably would be a crackdown." Ben scowled. "What happens if there is a crackdown? And what will you do when Space Corps ships officially reach the asteroids? They can't ignore you then." "Then we move on. We dream up new gimmicks for our crates and take them to Jupiter, Saturn, Uranus, Neptune, Pluto. In time, maybe, we'll be pushed out of the System itself. Maybe it won't be the white-suited boys who'll make that first hop to the stars. It could be us, you know—if we live long enough. But that Asteroid Belt is murder. You can't follow the text-book rules of astrogation out there. You make up your own." Ben stiffened. "And that's why you want me for an astrogator." Maggie rose, her eyes wistful. "If you want to come—and if you get well." She looked at him strangely. "Suppose—" He fought to find the right words. "Suppose I got well and decided not to join Jacob. What would happen to me? Would you let me go?" Her thin face was criss-crossed by emotion—alarm, then bewilderment, then fear. "I don't know. That would be up to Jacob." He lay biting his lip, staring at the photo of Jacob. She touched his hand and it seemed that sadness now dominated the flurry of emotion that had coursed through her. "The only thing that matters, really," she murmured, "is your walking again. We'll try this afternoon. Okay?" "Okay," he said. When she left, his eyes were still turned toward Jacob's photo. He was like two people, he thought. Half of him was an officer of the Space Corps. Perhaps one single starry-eyed boy out of ten thousand was lucky enough to reach that goal. He remembered a little picture book his mother had given him when she was alive. Under the bright pictures of spacemen were the captions: "A Space Officer Is Honest" "A Space Officer Is Loyal." "A Space Officer Is Dutiful." Honesty, loyalty, duty. Trite words, but without those concepts, mankind would never have broken away from the planet that held it prisoner for half a million years. Without them, Everson, after three failures and a hundred men dead, would never have landed on the Moon twenty-seven years ago.

perfection

How many times the word 'perfection' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

thinking

How many times the word 'thinking' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

dessicated

How many times the word 'dessicated' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

produced

How many times the word 'produced' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

pockets

How many times the word 'pockets' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

magazine

How many times the word 'magazine' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

handkerchief

How many times the word 'handkerchief' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

residential

How many times the word 'residential' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

best

How many times the word 'best' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

mildly

How many times the word 'mildly' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

exquisitely

How many times the word 'exquisitely' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

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How many times the word 'wash' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

elevator

How many times the word 'elevator' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

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How many times the word 'results' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

lived

How many times the word 'lived' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

crisp

How many times the word 'crisp' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

vaccination

How many times the word 'vaccination' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

phone

How many times the word 'phone' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

essence

How many times the word 'essence' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

puzzled

How many times the word 'puzzled' appears in the text?

A FALL OF GLASS By STANLEY R. LEE Illustrated by DILLON [Transcriber's Note: This etext was produced from Galaxy Magazine October 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The weatherman was always right: Temperature, 59; humidity, 47%; occasional light showers—but of what? The pockets of Mr. Humphrey Fownes were being picked outrageously. It was a splendid day. The temperature was a crisp 59 degrees, the humidity a mildly dessicated 47%. The sun was a flaming orange ball in a cloudless blue sky. His pockets were picked eleven times. It should have been difficult. Under the circumstances it was a masterpiece of pocket picking. What made it possible was Humphrey Fownes' abstraction; he was an uncommonly preoccupied individual. He was strolling along a quiet residential avenue: small private houses, one after another, a place of little traffic and minimum distractions. But he was thinking about weather, which was an unusual subject to begin with for a person living in a domed city. He was thinking so deeply about it that it never occurred to him that entirely too many people were bumping into him. He was thinking about Optimum Dome Conditions (a crisp 59 degrees, a mildly dessicated 47%) when a bogus postman, who pretended to be reading a postal card, jostled him. In the confusion of spilled letters and apologies from both sides, the postman rifled Fownes's handkerchief and inside jacket pockets. He was still thinking about temperature and humidity when a pretty girl happened along with something in her eye. They collided. She got his right and left jacket pockets. It was much too much for coincidence. The sidewalk was wide enough to allow four people to pass at one time. He should surely have become suspicious when two men engaged in a heated argument came along. In the ensuing contretemps they emptied his rear pants pockets, got his wristwatch and restored the contents of the handkerchief pocket. It all went off very smoothly, like a game of put and take—the sole difference being that Humphrey Fownes had no idea he was playing. There was an occasional tinkle of falling glass. It fell on the streets and houses, making small geysers of shiny mist, hitting with a gentle musical sound, like the ephemeral droppings of a celesta. It was precipitation peculiar to a dome: feather-light fragments showering harmlessly on the city from time to time. Dome weevils, their metal arms reaching out with molten glass, roamed the huge casserole, ceaselessly patching and repairing. Humphrey Fownes strode through the puffs of falling glass still intrigued by a temperature that was always 59 degrees, by a humidity that was always 47%, by weather that was always Optimum. It was this rather than skill that enabled the police to maintain such a tight surveillance on him, a surveillance that went to the extent of getting his fingerprints off the postman's bag, and which photographed, X-rayed and chemically analyzed the contents of his pockets before returning them. Two blocks away from his home a careless housewife spilled a five-pound bag of flour as he was passing. It was really plaster of Paris. He left his shoe prints, stride measurement, height, weight and handedness behind. By the time Fownes reached his front door an entire dossier complete with photographs had been prepared and was being read by two men in an orange patrol car parked down the street. Lanfierre had undoubtedly been affected by his job. Sitting behind the wheel of the orange car, he watched Humphrey Fownes approach with a distinct feeling of admiration, although it was an odd, objective kind of admiration, clinical in nature. It was similar to that of a pathologist observing for the first time a new and particularly virulent strain of pneumococcus under his microscope. Lanfierre's job was to ferret out aberration. It couldn't be tolerated within the confines of a dome. Conformity had become more than a social force; it was a physical necessity. And, after years of working at it, Lanfierre had become an admirer of eccentricity. He came to see that genuine quirks were rare and, as time went on, due partly to his own small efforts, rarer. Fownes was a masterpiece of queerness. He was utterly inexplicable. Lanfierre was almost proud of Humphrey Fownes. "Sometimes his house shakes ," Lanfierre said. "House shakes," Lieutenant MacBride wrote in his notebook. Then he stopped and frowned. He reread what he'd just written. "You heard right. The house shakes ," Lanfierre said, savoring it. MacBride looked at the Fownes house through the magnifying glass of the windshield. "Like from ... side to side ?" he asked in a somewhat patronizing tone of voice. "And up and down." MacBride returned the notebook to the breast pocket of his orange uniform. "Go on," he said, amused. "It sounds interesting." He tossed the dossier carelessly on the back seat. Lanfierre sat stiffly behind the wheel, affronted. The cynical MacBride couldn't really appreciate fine aberrations. In some ways MacBride was a barbarian. Lanfierre had held out on Fownes for months. He had even contrived to engage him in conversation once, a pleasantly absurd, irrational little chat that titillated him for weeks. It was only with the greatest reluctance that he finally mentioned Fownes to MacBride. After years of searching for differences Lanfierre had seen how extraordinarily repetitious people were, echoes really, dimly resounding echoes, each believing itself whole and separate. They spoke in an incessant chatter of cliches, and their actions were unbelievably trite. Then a fine robust freak came along and the others—the echoes—refused to believe it. The lieutenant was probably on the point of suggesting a vacation. "Why don't you take a vacation?" Lieutenant MacBride suggested. "It's like this, MacBride. Do you know what a wind is? A breeze? A zephyr?" "I've heard some." "They say there are mountain-tops where winds blow all the time. Strong winds, MacBride. Winds like you and I can't imagine. And if there was a house sitting on such a mountain and if winds did blow, it would shake exactly the way that one does. Sometimes I get the feeling the whole place is going to slide off its foundation and go sailing down the avenue." Lieutenant MacBride pursed his lips. "I'll tell you something else," Lanfierre went on. "The windows all close at the same time. You'll be watching and all of a sudden every single window in the place will drop to its sill." Lanfierre leaned back in the seat, his eyes still on the house. "Sometimes I think there's a whole crowd of people in there waiting for a signal—as if they all had something important to say but had to close the windows first so no one could hear. Why else close the windows in a domed city? And then as soon as the place is buttoned up they all explode into conversation—and that's why the house shakes." MacBride whistled. "No, I don't need a vacation." A falling piece of glass dissolved into a puff of gossamer against the windshield. Lanfierre started and bumped his knee on the steering wheel. "No, you don't need a rest," MacBride said. "You're starting to see flying houses, hear loud babbling voices. You've got winds in your brain, Lanfierre, breezes of fatigue, zephyrs of irrationality—" At that moment, all at once, every last window in the house slammed shut. The street was deserted and quiet, not a movement, not a sound. MacBride and Lanfierre both leaned forward, as if waiting for the ghostly babble of voices to commence. The house began to shake. It rocked from side to side, it pitched forward and back, it yawed and dipped and twisted, straining at the mooring of its foundation. The house could have been preparing to take off and sail down the.... MacBride looked at Lanfierre and Lanfierre looked at MacBride and then they both looked back at the dancing house. "And the water ," Lanfierre said. "The water he uses! He could be the thirstiest and cleanest man in the city. He could have a whole family of thirsty and clean kids, and he still wouldn't need all that water." The lieutenant had picked up the dossier. He thumbed through the pages now in amazement. "Where do you get a guy like this?" he asked. "Did you see what he carries in his pockets?" "And compasses won't work on this street." The lieutenant lit a cigarette and sighed. He usually sighed when making the decision to raid a dwelling. It expressed his weariness and distaste for people who went off and got neurotic when they could be enjoying a happy, normal existence. There was something implacable about his sighs. "He'll be coming out soon," Lanfierre said. "He eats supper next door with a widow. Then he goes to the library. Always the same. Supper at the widow's next door and then the library." MacBride's eyebrows went up a fraction of an inch. "The library?" he said. "Is he in with that bunch?" Lanfierre nodded. "Should be very interesting," MacBride said slowly. "I can't wait to see what he's got in there," Lanfierre murmured, watching the house with a consuming interest. They sat there smoking in silence and every now and then their eyes widened as the house danced a new step. Fownes stopped on the porch to brush the plaster of paris off his shoes. He hadn't seen the patrol car and this intense preoccupation of his was also responsible for the dancing house—he simply hadn't noticed. There was a certain amount of vibration, of course. He had a bootleg pipe connected into the dome blower system, and the high-pressure air caused some buffeting against the thin walls of the house. At least, he called it buffeting; he'd never thought to watch from outside. He went in and threw his jacket on the sofa, there being no room left in the closets. Crossing the living room he stopped to twist a draw-pull. Every window slammed shut. "Tight as a kite," he thought, satisfied. He continued on toward the closet at the foot of the stairs and then stopped again. Was that right? No, snug as a hug in a rug . He went on, thinking: The old devils. The downstairs closet was like a great watch case, a profusion of wheels surrounding the Master Mechanism, which was a miniature see-saw that went back and forth 365-1/4 times an hour. The wheels had a curious stateliness about them. They were all quite old, salvaged from grandfather's clocks and music boxes and they went around in graceful circles at the rate of 30 and 31 times an hour ... although there was one slightly eccentric cam that vacillated between 28 and 29. He watched as they spun and flashed in the darkness, and then set them for seven o'clock in the evening, April seventh, any year. Outside, the domed city vanished. It was replaced by an illusion. Or, as Fownes hoped it might appear, the illusion of the domed city vanished and was replaced by a more satisfactory, and, for his specific purpose, more functional, illusion. Looking through the window he saw only a garden. Instead of an orange sun at perpetual high noon, there was a red sun setting brilliantly, marred only by an occasional arcover which left the smell of ozone in the air. There was also a gigantic moon. It hid a huge area of sky, and it sang. The sun and moon both looked down upon a garden that was itself scintillant, composed largely of neon roses. Moonlight, he thought, and roses. Satisfactory. And cocktails for two. Blast, he'd never be able to figure that one out! He watched as the moon played, Oh, You Beautiful Doll and the neon roses flashed slowly from red to violet, then went back to the closet and turned on the scent. The house began to smell like an immensely concentrated rose as the moon shifted to People Will Say We're In Love . He rubbed his chin critically. It seemed all right. A dreamy sunset, an enchanted moon, flowers, scent. They were all purely speculative of course. He had no idea how a rose really smelled—or looked for that matter. Not to mention a moon. But then, neither did the widow. He'd have to be confident, assertive. Insist on it. I tell you, my dear, this is a genuine realistic romantic moon. Now, does it do anything to your pulse? Do you feel icy fingers marching up and down your spine? His own spine didn't seem to be affected. But then he hadn't read that book on ancient mores and courtship customs. How really odd the ancients were. Seduction seemed to be an incredibly long and drawn-out process, accompanied by a considerable amount of falsification. Communication seemed virtually impossible. "No" meant any number of things, depending on the tone of voice and the circumstances. It could mean yes, it could mean ask me again later on this evening. He went up the stairs to the bedroom closet and tried the rain-maker, thinking roguishly: Thou shalt not inundate. The risks he was taking! A shower fell gently on the garden and a male chorus began to chant Singing in the Rain . Undiminished, the yellow moon and the red sun continued to be brilliant, although the sun occasionally arced over and demolished several of the neon roses. The last wheel in the bedroom closet was a rather elegant steering wheel from an old 1995 Studebaker. This was on the bootleg pipe; he gingerly turned it. Far below in the cellar there was a rumble and then the soft whistle of winds came to him. He went downstairs to watch out the living room window. This was important; the window had a really fixed attitude about air currents. The neon roses bent and tinkled against each other as the wind rose and the moon shook a trifle as it whispered Cuddle Up a Little Closer . He watched with folded arms, considering how he would start. My dear Mrs. Deshazaway. Too formal. They'd be looking out at the romantic garden; time to be a bit forward. My very dear Mrs. Deshazaway. No. Contrived. How about a simple, Dear Mrs. Deshazaway . That might be it. I was wondering, seeing as how it's so late, if you wouldn't rather stay over instead of going home.... Preoccupied, he hadn't noticed the winds building up, didn't hear the shaking and rattling of the pipes. There were attic pipes connected to wall pipes and wall pipes connected to cellar pipes, and they made one gigantic skeleton that began to rattle its bones and dance as high-pressure air from the dome blower rushed in, slowly opening the Studebaker valve wider and wider.... The neon roses thrashed about, extinguishing each other. The red sun shot off a mass of sparks and then quickly sank out of sight. The moon fell on the garden and rolled ponderously along, crooning When the Blue of the Night Meets the Gold of the Day . The shaking house finally woke him up. He scrambled upstairs to the Studebaker wheel and shut it off. At the window again, he sighed. Repairs were in order. And it wasn't the first time the winds got out of line. Why didn't she marry him and save all this bother? He shut it all down and went out the front door, wondering about the rhyme of the months, about stately August and eccentric February and romantic April. April. Its days were thirty and it followed September. And all the rest have thirty-one. What a strange people, the ancients! He still didn't see the orange car parked down the street. "Men are too perishable," Mrs. Deshazaway said over dinner. "For all practical purposes I'm never going to marry again. All my husbands die." "Would you pass the beets, please?" Humphrey Fownes said. She handed him a platter of steaming red beets. "And don't look at me that way," she said. "I'm not going to marry you and if you want reasons I'll give you four of them. Andrew. Curt. Norman. And Alphonse." The widow was a passionate woman. She did everything passionately—talking, cooking, dressing. Her beets were passionately red. Her clothes rustled and her high heels clicked and her jewelry tinkled. She was possessed by an uncontrollable dynamism. Fownes had never known anyone like her. "You forgot to put salt on the potatoes," she said passionately, then went on as calmly as it was possible for her to be, to explain why she couldn't marry him. "Do you have any idea what people are saying? They're all saying I'm a cannibal! I rob my husbands of their life force and when they're empty I carry their bodies outside on my way to the justice of the peace." "As long as there are people," he said philosophically, "there'll be talk." "But it's the air! Why don't they talk about that? The air is stale, I'm positive. It's not nourishing. The air is stale and Andrew, Curt, Norman and Alphonse couldn't stand it. Poor Alphonse. He was never so healthy as on the day he was born. From then on things got steadily worse for him." "I don't seem to mind the air." She threw up her hands. "You'd be the worst of the lot!" She left the table, rustling and tinkling about the room. "I can just hear them. Try some of the asparagus. Five. That's what they'd say. That woman did it again. And the plain fact is I don't want you on my record." "Really," Fownes protested. "I feel splendid. Never better." He could hear her moving about and then felt her hands on his shoulders. "And what about those very elaborate plans you've been making to seduce me?" Fownes froze with three asparagus hanging from his fork. "Don't you think they'll find out? I found out and you can bet they will. It's my fault, I guess. I talk too much. And I don't always tell the truth. To be completely honest with you, Mr. Fownes, it wasn't the old customs at all standing between us, it was air. I can't have another man die on me, it's bad for my self-esteem. And now you've gone and done something good and criminal, something peculiar." Fownes put his fork down. "Dear Mrs. Deshazaway," he started to say. "And of course when they do find out and they ask you why, Mr. Fownes, you'll tell them. No, no heroics, please! When they ask a man a question he always answers and you will too. You'll tell them I wanted to be courted and when they hear that they'll be around to ask me a few questions. You see, we're both a bit queer." "I hadn't thought of that," Fownes said quietly. "Oh, it doesn't really matter. I'll join Andrew, Curt, Norman—" "That won't be necessary," Fownes said with unusual force. "With all due respect to Andrew, Curt, Norman and Alphonse, I might as well state here and now I have other plans for you, Mrs. Deshazaway." "But my dear Mr. Fownes," she said, leaning across the table. "We're lost, you and I." "Not if we could leave the dome," Fownes said quietly. "That's impossible! How?" In no hurry, now that he had the widow's complete attention, Fownes leaned across the table and whispered: "Fresh air, Mrs. Deshazaway? Space? Miles and miles of space where the real-estate monopoly has no control whatever? Where the wind blows across prairies ; or is it the other way around? No matter. How would you like that , Mrs. Deshazaway?" Breathing somewhat faster than usual, the widow rested her chin on her two hands. "Pray continue," she said. "Endless vistas of moonlight and roses? April showers, Mrs. Deshazaway. And June, which as you may know follows directly upon April and is supposed to be the month of brides, of marrying. June also lies beyond the dome." "I see." " And ," Mr. Fownes added, his voice a honeyed whisper, "they say that somewhere out in the space and the roses and the moonlight, the sleeping equinox yawns and rises because on a certain day it's vernal and that's when it roams the Open Country where geigers no longer scintillate." " My. " Mrs. Deshazaway rose, paced slowly to the window and then came back to the table, standing directly over Fownes. "If you can get us outside the dome," she said, "out where a man stays warm long enough for his wife to get to know him ... if you can do that, Mr. Fownes ... you may call me Agnes." When Humphrey Fownes stepped out of the widow's house, there was a look of such intense abstraction on his features that Lanfierre felt a wistful desire to get out of the car and walk along with the man. It would be such a deliciously insane experience. ("April has thirty days," Fownes mumbled, passing them, "because thirty is the largest number such that all smaller numbers not having a common divisor with it are primes ." MacBride frowned and added it to the dossier. Lanfierre sighed.) Pinning his hopes on the Movement, Fownes went straight to the library several blocks away, a shattered depressing place given over to government publications and censored old books with holes in them. It was used so infrequently that the Movement was able to meet there undisturbed. The librarian was a yellowed, dog-eared woman of eighty. She spent her days reading ancient library cards and, like the books around her, had been rendered by time's own censor into near unintelligibility. "Here's one," she said to him as he entered. " Gulliver's Travels. Loaned to John Wesley Davidson on March 14, 1979 for five days. What do you make of it?" In the litter of books and cards and dried out ink pads that surrounded the librarian, Fownes noticed a torn dust jacket with a curious illustration. "What's that?" he said. "A twister," she replied quickly. "Now listen to this . Seven years later on March 21, 1986, Ella Marshall Davidson took out the same book. What do you make of that ?" "I'd say," Humphrey Fownes said, "that he ... that he recommended it to her, that one day they met in the street and he told her about this book and then they ... they went to the library together and she borrowed it and eventually, why eventually they got married." "Hah! They were brother and sister!" the librarian shouted in her parched voice, her old buckram eyes laughing with cunning. Fownes smiled weakly and looked again at the dust jacket. The twister was unquestionably a meteorological phenomenon. It spun ominously, like a malevolent top, and coursed the countryside destructively, carrying a Dorothy to an Oz. He couldn't help wondering if twisters did anything to feminine pulses, if they could possibly be a part of a moonlit night, with cocktails and roses. He absently stuffed the dust jacket in his pocket and went on into the other rooms, the librarian mumbling after him: "Edna Murdoch Featherstone, April 21, 1991," as though reading inscriptions on a tombstone. The Movement met in what had been the children's room, where unpaid ladies of the afternoon had once upon a time read stories to other people's offspring. The members sat around at the miniature tables looking oddly like giants fled from their fairy tales, protesting. "Where did the old society fail?" the leader was demanding of them. He stood in the center of the room, leaning on a heavy knobbed cane. He glanced around at the group almost complacently, and waited as Humphrey Fownes squeezed into an empty chair. "We live in a dome," the leader said, "for lack of something. An invention! What is the one thing that the great technological societies before ours could not invent, notwithstanding their various giant brains, electronic and otherwise?" Fownes was the kind of man who never answered a rhetorical question. He waited, uncomfortable in the tight chair, while the others struggled with this problem in revolutionary dialectics. " A sound foreign policy ," the leader said, aware that no one else had obtained the insight. "If a sound foreign policy can't be created the only alternative is not to have any foreign policy at all. Thus the movement into domes began— by common consent of the governments . This is known as self-containment." Dialectically out in left field, Humphrey Fownes waited for a lull in the ensuing discussion and then politely inquired how it might be arranged for him to get out. "Out?" the leader said, frowning. "Out? Out where?" "Outside the dome." "Oh. All in good time, my friend. One day we shall all pick up and leave." "And that day I'll await impatiently," Fownes replied with marvelous tact, "because it will be lonely out there for the two of us. My future wife and I have to leave now ." "Nonsense. Ridiculous! You have to be prepared for the Open Country. You can't just up and leave, it would be suicide, Fownes. And dialectically very poor." "Then you have discussed preparations, the practical necessities of life in the Open Country. Food, clothing, a weapon perhaps? What else? Have I left anything out?" The leader sighed. "The gentleman wants to know if he's left anything out," he said to the group. Fownes looked around at them, at some dozen pained expressions. "Tell the man what he's forgotten," the leader said, walking to the far window and turning his back quite pointedly on them. Everyone spoke at the same moment. " A sound foreign policy ," they all said, it being almost too obvious for words. On his way out the librarian shouted at him: " A Tale of a Tub , thirty-five years overdue!" She was calculating the fine as he closed the door. Humphrey Fownes' preoccupation finally came to an end when he was one block away from his house. It was then that he realized something unusual must have occurred. An orange patrol car of the security police was parked at his front door. And something else was happening too. His house was dancing. It was disconcerting, and at the same time enchanting, to watch one's residence frisking about on its foundation. It was such a strange sight that for the moment he didn't give a thought to what might be causing it. But when he stepped gingerly onto the porch, which was doing its own independent gavotte, he reached for the doorknob with an immense curiosity. The door flung itself open and knocked him back off the porch. From a prone position on his miniscule front lawn, Fownes watched as his favorite easy chair sailed out of the living room on a blast of cold air and went pinwheeling down the avenue in the bright sunshine. A wild wind and a thick fog poured out of the house. It brought chairs, suits, small tables, lamps trailing their cords, ashtrays, sofa cushions. The house was emptying itself fiercely, as if disgorging an old, spoiled meal. From deep inside he could hear the rumble of his ancient upright piano as it rolled ponderously from room to room. He stood up; a wet wind swept over him, whipping at his face, toying with his hair. It was a whistling in his ears, and a tingle on his cheeks. He got hit by a shoe. As he forced his way back to the doorway needles of rain played over his face and he heard a voice cry out from somewhere in the living room. "Help!" Lieutenant MacBride called. Standing in the doorway with his wet hair plastered down on his dripping scalp, the wind roaring about him, the piano rumbling in the distance like thunder, Humphrey Fownes suddenly saw it all very clearly. " Winds ," he said in a whisper. "What's happening?" MacBride yelled, crouching behind the sofa. " March winds," he said. "What?!" "April showers!" The winds roared for a moment and then MacBride's lost voice emerged from the blackness of the living room. "These are not Optimum Dome Conditions!" the voice wailed. "The temperature is not 59 degrees. The humidity is not 47%!" Fownes held his face up to let the rain fall on it. "Moonlight!" he shouted. "Roses! My soul for a cocktail for two!" He grasped the doorway to keep from being blown out of the house. "Are you going to make it stop or aren't you!" MacBride yelled. "You'll have to tell me what you did first!" "I told him not to touch that wheel! Lanfierre. He's in the upstairs bedroom!" When he heard this Fownes plunged into the house and fought his way up the stairs. He found Lanfierre standing outside the bedroom with a wheel in his hand. "What have I done?" Lanfierre asked in the monotone of shock. Fownes took the wheel. It was off a 1995 Studebaker. "I'm not sure what's going to come of this," he said to Lanfierre with an astonishing amount of objectivity, "but the entire dome air supply is now coming through my bedroom." The wind screamed. "Is there something I can turn?" Lanfierre asked. "Not any more there isn't." They started down the stairs carefully, but the wind caught them and they quickly reached the bottom in a wet heap. Recruiting Lieutenant MacBride from behind his sofa, the men carefully edged out of the house and forced the front door shut. The wind died. The fog dispersed. They stood dripping in the Optimum Dome Conditions of the bright avenue. "I never figured on this ," Lanfierre said, shaking his head. With the front door closed the wind quickly built up inside the house. They could see the furnishing whirl past the windows. The house did a wild, elated jig. "What kind of a place is this?" MacBride said, his courage beginning to return. He took out his notebook but it was a soggy mess. He tossed it away. "Sure, he was different ," Lanfierre murmured. "I knew that much." When the roof blew off they weren't really surprised. With a certain amount of equanimity they watched it lift off almost gracefully, standing on end for a moment before toppling to the ground. It was strangely slow motion, as was the black twirling cloud that now rose out of the master bedroom, spewing shorts and socks and cases every which way. " Now what?" MacBride said, thoroughly exasperated, as this strange black cloud began to accelerate, whirling about like some malevolent top.... Humphrey Fownes took out the dust jacket he'd found in the library. He held it up and carefully compared the spinning cloud in his bedroom with the illustration. The cloud rose and spun, assuming the identical shape of the illustration. "It's a twister," he said softly. "A Kansas twister!" "What," MacBride asked, his bravado slipping away again, "what ... is a twister?" The twister roared and moved out of the bedroom, out over the rear of the house toward the side of the dome. "It says here," Fownes shouted over the roaring, "that Dorothy traveled from Kansas to Oz in a twister and that ... and that Oz is a wonderful and mysterious land beyond the confines of everyday living ." MacBride's eyes and mouth were great zeros. "Is there something I can turn?" Lanfierre asked. Huge chunks of glass began to fall around them. "Fownes!" MacBride shouted. "This is a direct order! Make it go back!" But Fownes had already begun to run on toward the next house, dodging mountainous puffs of glass as he went. "Mrs. Deshazaway!" he shouted. "Yoo-hoo, Mrs. Deshazaway!" The dome weevils were going berserk trying to keep up with the precipitation. They whirred back and forth at frightful speed, then, emptied of molten glass, rushed to the Trough which they quickly emptied and then rushed about empty-handed. "Yoo-hoo!" he yelled, running. The artificial sun vanished behind the mushrooming twister. Optimum temperature collapsed. "Mrs. Deshazaway! Agnes , will you marry me? Yoo-hoo!" Lanfierre and Lieutenant MacBride leaned against their car and waited, dazed. There was quite a large fall of glass.

person

How many times the word 'person' appears in the text?