A Fall of Glass
Date: 2016-03-30T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of A Fall of Glass

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: A Fall of Glass

Author: Stanley R. Lee

Illustrator: Diane Dillon

Leo Dillon

Release date: March 31, 2016 [eBook #51609]
Most recently updated: October 23, 2024

Language: English

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

*** START OF THE PROJECT GUTENBERG EBOOK A FALL OF GLASS ***

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.

*** END OF THE PROJECT GUTENBERG EBOOK A FALL OF GLASS ***

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.

Table of Contents

- A FALL OF GLASS

- THE FULL PROJECT GUTENBERG LICENSE