The Project Gutenberg eBook of Headhunters of Nuamerica
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: Headhunters of Nuamerica

Author: Stanton A. Coblentz

Illustrator: David A. Kyle

Release date: March 17, 2021 [eBook #64847]

Language: English

Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net


*** START OF THE PROJECT GUTENBERG EBOOK HEADHUNTERS OF NUAMERICA ***




                       HEADHUNTERS OF NUAMERICA

                        By STANTON A. COBLENTZ

           [Transcriber's Note: This etext was produced from
                            Comet March 41.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]


There was a stunned sensation in Downey's head as he slowly regained
consciousness. He had the feeling of one who has been drugged, or
sandbagged; and for a moment he could not quite recall where he was or
what had happened to him. He was only aware of a dull, hammering sound
from somewhere in the distance; and aware also of the aching pain and
the stiffness in every joint and muscle of his body. It seemed to him
at first that his eyelids were glued together, and would never open;
and when at length he forced them apart, he realized that he was in
darkness, except for a faint light that slowly widened at the further
end of a narrow gallery.

A low moan from just ahead of him caused him to reach out; and, more by
feeling than by sight, he recognized the slim form sprawled full-length
on the floor. Judith Barclay! As this name flashed across his mind,
recollection came back with a great leap, and his tortured brain
reconstructed the scenes of the last hour or two. The announcement of
the outbreak of war, followed almost immediately by the appearance
of the raiding planes! His appeal to Judith, when for the twentieth
time she had shrugged her thin shoulders and refused him; then the
alarm, and their flight together through the panicky crowds toward
the air-raid shelters! Their terrified halt, when a bomb plowed up
the street just before them; and their dash into an immense section
of concrete pipe, where some construction work was under way! And,
finally, the thudding sound of a concussion; Judith's scream--and
darkness!

"Well, by thunder, that shell pretty near got us!" he reflected,
scarcely wondering at the changed appearance of the pipe, which he
attributed to the explosion. Then, as he reached out and felt for the
girl's arm, he asked, "How are you, Jude? Hurt?"

"No, I'm all right, Mort," she answered, weakly. "Only, a little--a
little funny in the head."

He glanced out along the tapering dimness of the pipe, and saw the
light at the further end slowly widening. At the same time, the noise
of renewed hammering came to his ears. "Well, the rescuers are getting
here pretty quick," he remarked. "Guess the raid's over."

"Thank heaven!" she sighed. "I--I don't think this was a very wise
place to choose, Mort."

He bit his lip, wondering why, even in their present grim location, her
least remark should have the power to torture him.

"Don't you--don't you smell something peculiar? A little like ether?"
she went on, in faltering tones; while he, as the light at the end of
the gallery brightened to a glare, tottered to his hands and knees, and
then fell back to the floor of the tube, feeling sick in the head.

"There's something wrong with the air, by Christopher!" he muttered;
and then cried out in astonishment, "Say, do you see that?"

By the bright light at the end of the gallery, two figures were
visible. Two men wearing clothes like Scottish kilts, bright crimson
and emerald-hued, and with bare arms and knees! Over the lips and
nostrils of each was a drooping, scarlet-tubed apparatus, a little
like a gas-mask, though different from any gas-mask that Downey had
ever seen. And in the hand of the foremost was a minute shining stick,
from which suddenly a dazzlingly white searchlight ray shot out,
illuminating the two trapped persons as if by a blaze of sunlight.

Downey thought that the strangers started back in surprise; but all
that he was certain of was that, after a second, they were motioning
him to come out of the tube.

This Downey was able to do only very slowly, while helping the girl,
who was tightly clutching at a large beaded handbag. So painful was
their progress that the man's mind, still dazed, had little chance to
reflect on their rescuers' appearance. Doubtless the strangers were
vaudeville performers who, caught by surprise, had had no time to
change their costumes.

But when Downey finally came to the end of the tube and stared out,
he gasped and staggered, clutched one hand to his forehead, and sank
full-length to the ground, in reeling bewilderment.

Surely, the shock had turned his mind! The long marble lines of the
Government buildings, which had dominated the scene only a short while
before--they were no longer to be seen! The sandstone mansions of
Bannerton Row, just to his left, had vanished! He was in the midst of
a wide park, featured by gnarled old elms--gnarled old elms a hundred
feet high, where there had been not even a sapling!

But if this were only a nightmare, why did Judith share it? For her
dazed exclamations showed that her eyes told the same story!

As they breathed the clear air outside the tube, the hazes cleared
rapidly from their minds; the strength seemed all at once to course
back to their limbs, and they were able to rise to their feet. But each
second only added to their befuddlement.

The red-and-green-clad men were but two out of a score. All wore kilted
costumes, with bare arms and knees; and all were arrayed in bright
colors: purple and gold, chrome yellow, crimson, and milky white. And
all had crowded around them with wild exclamations, calling out in
high-pitched tones that neither of them could at first understand.

At length, from amid the din, two cries made themselves evident,
shrilling in a strange accentuation, "Who are you? Who are you? Where
do you come from? Where do you come from?"

To this Downey replied, in a voice that sounded cracked and broken even
to his own ears. "Who are _you_? Who are _you_? Where do _you_ come
from?"

His answer was an outburst of laughter which, beginning in a low
ripple, gradually rose to an uproarious crescendo.

This demonstration was checked by the arrival of a tall
blue-and-orange-clad individual, who stood out from the others owing to
a large gemmed silver star that crowned his bald pate.

Raising his left arm authoritatively, the newcomer instantly silenced
the crowd; and, stepping toward Downey and the girl, spoke in slow,
crisp tones that were quite understandable despite their foreign ring:

"Better tell us, sir, where you come from. I understand you were both
found among the ruins."

"Yes, I guess that's right," Downey replied. "That is, the ruins of the
bombing raid."

"Bombing raid?" several voices caught him up, sharply. "Bombing raid?"
And the men turned to one another with muttered exclamations; while one
or two put their hands significantly to their heads.

"I do not know what you mean, sir," said the star-crowned one. "Must I
tell you we are a civilized people, and have had no bombing raids for
three hundred years?"

Downey grumbled something beneath his breath, thinking this a poor time
for jesting. But incisively over all rose the voice of Judith, "if you
have had no bombing raids for three hundred years, then what year is
this? Didn't we go through a raid only a little while ago?"

The starred one cast Judith a piercing glance, and replied,
contemptuously, "I suppose, then, you're forgotten this is the year
314!"

"That is, 314 by the new reckoning," another voice explained. "2270, if
you prefer the Medieval calendar."

Downey and the girl stared at one another, dumbfounded. Could it be
that they had slept for more than three centuries?

"Do not forget," the starred one continued, fixing Downey with a
severe scowl, "we have yet to account for your presence here. A few
days ago, digging among the ruins left by the savages in their war
hundreds of years ago, we came across a big concrete tube which, on
being opened, gave out fumes that produced temporary unconsciousness in
the investigators. Later, as they worked with gas-masks, you two were
noticed within. It is evident that you entered sometime after the first
opening was made, while the workers lay drugged by the fumes. But where
did you come from? That is what we cannot understand."

Downey's mind reeled. An explanation, amazing and yet barely possible,
had flashed over him. What if the impact of the explosion had sealed
both ends of the concrete tube where he and Judith had sought refuge?
What if the tube had been buried beneath the earth, to remain there
for centuries? What if the poison gas released by the bombs had
entered their retreat, too diluted to kill them and yet strong enough
to produce suspended animation? He remembered reading of a new war
gas which could cause precisely that effect; and he knew that such
substances did exist in nature: as, for example, the paralyzing fluid
which the hunting wasp injects into the spider, to keep it indefinitely
alive though seemingly lifeless. If such a poison could operate for
weeks or months, what was there to prevent it from being effective for
a year? for ten years? even for three hundred years?

Then might this not be what had happened to Judith and himself? In
their profound unconsciousness, time would have no meaning for them;
generation after generation might be born, grow to maturity and old
age, and pass away while they slept their dreamless sleep, to be
awakened at last when the opening of their tomb had released the
poisoned fumes and let in some pure air.

By some swift intuition, Downey felt sure that this was what had
happened.

But his new acquaintances were not to be convinced by his explanation.
"I do not know where you are from," said the starred one, while his
green and orange costume glittered brilliantly in the sun. "You do not
talk like natives of our Nuamerica. You know our speech as if from old
books, and there is a foreign ring to your voices. Your clothes are
strange and clownish--I half believe you have robbed a museum. Either
you are foreigners who have no passport, or fugitives who seek an
outlandish disguise. For that reason, I proclaim you under arrest! You
will come with me to be examined by the High Councillor!"

To the accompaniment of a sound as of rattling chains, three men
stepped forth from the crowd. Each drew out a little pistol-like
machine, and pressed the trigger; and from the muzzle of each apparatus
there shot forth thin shining wires, which, with incredible swiftness,
wound themselves about Downey and the girl, binding their arms to their
sides beyond possibility of release.

Then, with a brusque "Come!", the starred one stalked away; while the
two prisoners, poked and shoved by half a dozen guards, started slowly
down an avenue of elms toward the huge triangular doorway of a remote
building.


                                  II

As they passed along the tree lined boulevard, their eyes were
attracted to several edifices of strange forms and colors. Some were
shaped like gigantic mushrooms, and were of a sky-blue complexion;
others were like huge inverted sea-green funnels; while the queerest
of all was an enormous crystalline sphere that rested on a wide base
of black marble. "You see, Jude," Downey remarked, "this is the
twenty-third century, sure enough. Was anything like this ever known in
our own time?"

"They do look crazy," Judith admitted, "but I'd be crazier yet if I
believed what you want me to. We must both be dreaming. That's the
simplest explanation."

On reaching the triangular doorway, they passed into a hall whose
softly glowing walls were lined with a satiny claret-colored cloth. The
floors were of alabaster; the air was rich with pine-incense; and the
golden incense burners, upon ebony tables, gave something of the effect
of an Oriental temple.

But it was not this that arrested the newcomers' attention. Their eyes
were immediately drawn to a figure who, clad in lush crimson, sat on a
throne that dangled ten feet above the floor, being suspended from the
ceiling by chains. As Downey adjusted himself to the subdued light,
he was able to make out that the man was old, very old; his face was
seamed and pitted until it might have been mistaken for the mummy of
Rameses.

Yet his movements belied his age. He was able to act with the swiftness
and decision of youth; and his words, when at length they came forth,
were spoken rapidly and with force.

Surrounding him like courtiers, on the floor of the hall, were half
a dozen elaborately robed men with faces as creased and scarred as
his own. Yet all, despite their appearance of extreme age, moved with
an almost youthful robustness; their bodies seemed erect and well
developed, with none of the flabby or wizened quality that might have
been expected to belong to their years.

It was with a vague discomfort that Downey noted the owlish stares
these ancient beings cast at him, nudging one another, and ogling
him with unhealthy peeps and squints. In his eyes they were the most
repulsive creatures he had ever seen.

Judith, also, appeared to have something of the same feeling. Pressing
close, she whispered into his ears, "What is this? The hall of the
Harpies?"

The silver-starred dignitary, who had preceded them into the hall,
had paused before the suspended throne, and was speaking to the
crimson-robed old man, whom he addressed as "High Councillor." Downey
could not make out much of his words, but could see how he paused
occasionally to point to Judith and himself; and he noted with
apprehension the avid gleams in the eyes of the High Councillor, who
stared down half curiously, half malevolently at the two prisoners as
they stood silently amid the guards.

At length the Councillor motioned the starred one away; beckoned Downey
to approach him; and spoke, in the high, piping tones of advanced age:

"Stranger, I do not know where you come from: whether you be a spy from
across the ocean, or one who was hidden away by misguided parents in
order to escape the Decapitation Draft. In any case--"

"What is the Decapitation Draft?" Downey could not help breaking out.

The Councillor's fist came down angrily, pounding at the vacant air.

"Do not think to save your head," he shrilled, "by pretending ignorance
of one of our most honored customs! As I was about to say, unless you
can satisfactorily show where you come from, you will be sent to the
body-testing rooms; and if you pass, as I believe you will, judging
from your sturdy-looking frame, you will be put on the list for early
decapitation. Such is the law of Nuamerica, of which I am the local
administrator."

Downey gasped. Could it be that every one in the twenty-third century
was mad?

"Well, are you going to speak or not?" piped the Councillor, leaning
down from his throne until Downey thought he was about to fall off.
"I'm giving you your chance to prove where you come from!"

As simply as he could, Downey attempted to state the facts of his
origin; although he felt convinced that there would be little gain
in arguing with a lunatic. And, as he foresaw, his words evoked only
merriment. "Truly, stranger," said the chief tormentor, after he, the
courtiers and the guards had all rocked back and forth with laughter,
"you have little imagination, if you cannot think of a better story!
So you were born in the year 1915! That is, 1915 by the old reckoning!
Why, that would make you older than I! And I'm the most elderly man
in this district, even though I won't celebrate my two hundred and
seventy-fifth birthday till next year!"

Downey stared, and said nothing, more convinced than ever of the
Councillor's madness.

"Of course, if it were not for you young man," the leader went on,
meditatively, "I would have been in my grave two centuries ago. It
is you who supply us with the robust young bodies to keep our old
heads alive. I well remember how, just two hundred and nine years
ago, I was pronounced at the point of death from heart disease--and
the transfusion to a young body was performed barely in the nick of
time. Since then, I've had the operation repeated once every thirty
years--which accounts for my present good health."

From amid these rambling phrases, Downey had begun to catch a gleam of
horrible meaning. Was the old man really mad after all? Or had he and
his followers been kept alive through some dread process of grafting
new bodies on to old heads?

Even as these questions flashed across the young man's mind, he heard
the renewed rasping of the Councillor's voice, "I give you one final
chance, sir! If you can't explain who you are and where you're from,
you will be honored, according to the law of Nuamerica, by giving your
head--"

He was interrupted by a half muffled cry. Judith, with one hand to her
mouth, had vainly tried to keep back her horror.

The scowl on the Councillor's mummy face gave way to a faint smile as
he turned to the girl, and said, "Have no fear, lady. You will not
share in the honor. Don't you know that the Official Head Commission
only last year exempted women from the Draft?"

[Illustration: _"Have no fear, lady," the counsellor said, "you will
not share the honor. You are exempt."_]

And then, blandly turning to the guards, the Councillor ordered, "Take
the prisoners to the body-testing rooms. I believe we are up on our
schedule, are we not?"

"Yes, Your Highness," returned the leader of the guards, bowing until
his bare knees touched the floor, "there is no reason why your desires
should not be executed within three days."

"Splendid!" approved the Councillor; while Downey, his arms still bound
by the cramping wires, felt himself being drawn away in the midst of
his grinning, kilted captors.


                                  III

Stripped to the waist, Downey stood in a gray steel room that somewhat
resembled the turret of a battleship. Gun-shaped implements bristled
from the grim painted walls; a veritable arsenal of knives glistened
behind him; while in the foreground was a series of tall machines
equipped with an intricacy of dials and tubes, to one of which Downey's
left arm had been strapped.

Just behind Downey stood a queer looking individual; robed in black,
although with bare knees, according to the local custom; and with a
black mask, and two tubes like doubly long opera glasses attached to
his eyes. Eagerly he was bending over the dials, and reciting, half
as though to himself, "339. 339.1. 340.1. 340.3." Then, with sudden
enthusiasm, he snapped off the mask and glasses, revealing a wizened
ancient face, and exclaimed,

"Young man, I congratulate you! You have passed!"

"Passed what, Doctor?" demanded Downey, as the examiner freed his arms
from the straps.

"Passed the body test! You have come through with high honors! I never
saw a more perfect physique! No flaw--no disease! Your score is more
than three hundred and forty--and two hundred and thirty, as you may
know, is considered a good average. I shall recommend you for immediate
decapitation! My congratulations again, young man!"

Downey glared at the blacked robed one. "I don't know what you're
talking about," he said. "It seems to me nearly every one here has lost
his head, but that's no reason I want to lose mine!"

"Ah, but it's considered a glorious thing, young man! To be decapitated
for your country's sake! Not every one can rise to such heights! Your
name will be enshrined in the Tablet of Heroes!"

"I can get along without that," stated Downey, drily. "All I'm asking
to know is what this nonsense is all about."

"Nonsense? You won't think it's nonsense, young man, when you put your
neck under the knife!"

Noting the look of bewilderment and horror on Downey's face, the Doctor
continued in a different vein:

"Well, maybe I'd better explain. I'm coming to see you're sincere in
claiming ignorance. Not that I can accept that silly story about the
twentieth century. But judging from your looks, your queer accent and
out-of-date manners, you are undoubtedly from some foreign country,
where maybe the people are uncivilized and don't know anything about
decapitation."

The black-robed one seated himself on a little revolving stool, crossed
his legs, and slowly went on:

"The original invention was made about three hundred years ago, by a
physician named John Knight, who lived in an ancient city called New
York. Was it necessary, Knight asked, for our best and most brilliant
minds to be taken from us at the early age of seventy or eighty owing
to some bodily defect? If fed by a vigorous blood-stream, the brain
would continue to function indefinitely--perhaps for centuries. But a
vigorous blood-stream, after senility had set in, could come only from
another body. Therefore, Dr. Knight concluded, if an old man's head
were grafted on to the body of a youth, the old man might continue to
live, with new limbs and organs, but with mental faculties unimpaired.
Think what a boon it would be for the race, if we could keep our great
geniuses alive for hundreds of years!"

"But how was it possible, Doctor," broke in Downey, "to attach one
man's body to another man's head?"

"It wasn't possible until after long experimentation. But the same
principle had already been applied in the grafting of limbs. There was
a gas, Etherene by name, which would produce suspended animation for
a few hours, even stopping the heartbeat and the circulation of the
blood. Any part of a man's body might be cut off while he was in this
condition; and if ligament was fitted to ligament, bone to bone, and
blood-vessel to blood-vessel, the removed portion might be attached in
its proper place to the body of another Etherene patient. Of course,
this required skilled surgery. But it was found that, by making proper
measurements in advance, it was possible to graft arms, legs, ears,
eyes and even whole bodies on to new possessors."

"That doesn't explain," remarked Downey, grimly, "where the new bodies
would come from."

"No, it doesn't." The speaker arose, pointed to a crimson wall-chart
marked, "Selective Decapitation Draft," and then went on to state,
"There has been a great deal of trouble on that score. In fact, the
Anti-Draft Revolution of the Twenties was fought on these grounds
alone. First, as to whose lives would be preserved by the new
invention. Of course, our rulers voted themselves that privilege.
Also, the friends and relations of the rulers. Then all persons whose
income tax was high enough were automatically entitled to remain
alive. Furthermore, those who got in by what is vulgarly called
graft--unfortunately, there have been some scandals on that account.
And, finally, if there were bodies enough to go around, a place was
to be made for the geniuses, such as great scientists, philosophers,
poets, etc.

"I regret greatly to say, however," the Doctor concluded, with a sigh,
"that we have never yet gotten that far down on the list."

"That still doesn't tell me," Downey insisted, "where you get the young
bodies to attach to the old heads."

"Well, that has always been a problem," admitted the Doctor. "At first
we used the bodies of criminals condemned to capital punishment. But
the age was a humane one, and abolished capital punishment. Then we
called for volunteers. But people showed a decided lack of patriotism.
So finally we adopted the draft. All young men between twenty-one and
thirty-one must be permanently registered. If they are selected in the
great annual lottery and are found to be without taint or disease, they
will have the blessed fate of giving their bodies to rejuvenate their
country's aged leaders."

"But are the drafted men the only ones taken?" inquired Downey,
anxiously.

"No, we are broad-minded. We offer the same distinguished lot to
criminals--and to aliens without a passport. That is how you gained
your chance, young man. As it happens, we are now far down the list.
Your turn will come in just three days."

With a groan, Downey stared at the gray, knife-lined walls that hedged
him about like a fortress prison. For the first time in his life he
regretted--and bitterly regretted--the care he had always taken to
keep in prime physical condition. He chewed his lips in mortification
to think that he had come to the twenty-third century only in order to
nourish some tottering dodo with his life blood. But for one reason
above all others he was stabbed with grief: a vision had burst over him
of Judith's eager face and burning bright blue eyes; and with a rush of
vehement emotion it came to him that he could not, must not die! How
would she fare, alone and friendless in this strange century? To escape
from the bleak steel walls appeared impossible; yet for her sake, more
than for his own, he must find a way to avert the threatened doom.


                                  IV

Two days had gone by. Up and down the length of a long curtained
room Downey slowly paced, with drooping head and drawn white face.
Sumptuously upholstered chairs and carven tables were ranged about him,
as if to lend luxury to his final hours. But it was not these that he
observed; his eyes were drawn constantly to the door, which was crossed
with steel bars, beyond which two kilted figures stood beside an ugly
black apparatus resembling a machine-gun.

Bitterly he reviewed in his mind his fruitless efforts to free himself.
The windows were locked and grated; the single door was guarded, and he
was under constant surveillance. Every effort had been made to render
his last days comfortable--but what comfort could he take when he was
held like a doomed ox in the stall, awaiting the slaughter? He had
hardly slept and barely taken food; and the final irony, he thought,
occurred when he was handed a steel plaque which read, "The Purple
Badge of Heroism. Died for his country this Thirty-Third day of May, in
the year 314 of the New Era."

"Well, guess I'm as good as dead already," he reflected as he stared at
these words.

He had flung the iron plaque to the furthest corner of the room, and
had sunken into a chair with his head buried in his hands, when a
rattling at the door caused him to start up abruptly.

"A visitor to see the prisoner!" he heard one of the guards droning,
automatically. And the other responded, as automatically, "Let her in!
Let her in!"

Leaping up, he observed Judith peering dismally through the bars.

"Mort!" she cried, in tones of mingled joy and sadness; while as he
sprang forward to meet her he observed that two kilted women and a
guard accompanied her. He also noted--and was a little hurt at the
incongruity of the fact--that she had taken pains with her make-up: she
was carrying her handbag, and the rouge on her lips was particularly
thick, and the powder was smeared on her cheeks in great white patches.

"Mort, I--I've done everything," she exclaimed, as she flung out both
hands to him. "But it was--it was no use. They wouldn't even let me see
you till this minute. I--I've come to say good-bye, Mort."

He noticed that her big blue eyes were brimmed with tears. And in the
tumult of that moment his own eyes were moist. With a swift impulse,
he drew her to him, bending down and pressing his lips against hers.
But, even as he did so, a powerful restraint seized him against his
will. Caught by a sudden spasm, he turned aside, inwardly cursing--and
sneezed.

Then again he sneezed, and again, and again, with fierce explosiveness;
and the tears rolled from his eyes, which began to grow red and
inflamed. Seven times in all he sneezed; then, with a growl, he
muttered, "Damnation! There goes my hay-fever again!"

"Your what?" the guard inquired, not quite catching the words. "What
kind of fever did you say?"

"Hay-fever," Judith answered. "It's a pestilence that used to rage in
the twentieth century."

"Never heard of it," said the guard; at which the girl, drawing a
mirror and powder-puff from her bag, began to smear her face anew;
while Downey once more sneezed violently.

"Sounds mighty dangerous!" concluded the guard; and opening a little
black tube on the wall, he called into it, "Send Doctor ZX down here
at once! The prisoner has a fit!"

Downey was just completing his third sneezing spell a minute or two
later when the black-robed Doctor arrived. With a dismayed gasp, he
stared at Downey; then opened a little case and took out a mass of
batteries and wires, which he attached to the prisoner's wrists and
ankles, while he damped two tubes to his ears and listened.

While he was doing this, Judith was using her powder-puff again, and
Downey once more sneezed.

"I don't know just what the disturbance is," the Doctor at length
decided, gloomily. "There's some hidden functional derangement. The
heartbeat is too fast. And the nerve pressure is too low. It's too bad,
young man, that you should have to spoil a good record."

Downey's answer was to sneeze once more.

"I can't imagine what causes the fits," meditated the Doctor, while
conducting a further examination. "It's something new to medical
science. For all I know, it may be contagious. Worst of all the germs
are probably in your body, and would infect any head to which you were
attached."

"It was considered worse than smallpox in our own time," contributed
Judith.

The Doctor paced slowly about the room, shaking his aged head
doubtfully; while he himself, as Judith continued operation with the
powder-puff, all at once began to sneeze.

"By my old head, I do hope I haven't caught it too!" he snapped,
withdrawing from Downey anxiously. And then, with sudden decisiveness,
"That settles it! I'm afraid I have bad news for you, young man. All
our decapitation heroes, as you know, must be in the best physical
condition. We can't take the chance of having them contaminate an old
head. Our rule is, 'Safety first.' So you see, young man, I am left no
choice. I will have to withdraw my recommendation!"

"What?" demanded Downey, rushing toward the Doctor in a wild outburst
of joy. "Does that mean I won't be decapitated?"

"Keep away from me!" snarled the Doctor, making a dash toward the door.
"Of course it means that! There's no use arguing, either! Henceforth
you'll have to earn your living like any ordinary head-wearing citizen!"

       *       *       *       *       *

As Judith's attendants and the guard withdrew, a startling thought
burst over Downey.

"By heaven, Jude," he exclaimed, "how did I happen to get hay-fever
already? My death-plaque said it's only May. And you know the fever
season doesn't begin till August."

Judith looked up at him with streaming eyes in which a faint light was
dawning. "Silly!" she said. "Why do you think I kept rubbing so much
powder on my face? Don't you remember, you always used to complain, you
were allergic to it, and it made you sneeze so much?"

"Well, thank the Lord for face powder!" cried the rescued man, as he
suddenly realized how long and ingeniously the girl had been planning
to save him--and realized, also, what such planning implied.

"It _is_ lucky I brought my handbag with me from the twentieth
century--and the face powder in it," stated the girl.

But his arms had already reached down to seize her. And, for the first
time, she responded fully to his embrace.

"I--I--I didn't know how much I cared, Mort," she sobbed, "until I
thought--I thought they were going to kill you!"

"Well, after all, decapitation has some merits," he smiled back. "Come
to think of it, Jude, it doesn't matter much to me what century I'm in,
so long as I'm there with you."



*** END OF THE PROJECT GUTENBERG EBOOK HEADHUNTERS OF NUAMERICA ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • You provide, in accordance with paragraph 1.F.3, a full refund of
        any money paid for a work or a replacement copy, if a defect in the
        electronic work is discovered and reported to you within 90 days of
        receipt of the work.
    
    • You comply with all other terms of this agreement for free
        distribution of Project Gutenberg™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.