Book Read Free

July 1930

Page 24

by Unknown


  And Ortiz was reading the contents of the envelope. His hands began to shake violently. He rested them on the desk-top so that he could continue to read. When he looked up his eyes were flaming.

  "The real Herr Wiedkind," said Jamison dryly, "came up from Punta Arenas with special instructions from The Master. You have talents, Señor Ortiz, which The Master wished to use. Also you have considerable wealth and the prestige of an honorable family. But you were afflicted with ideas of honor and decency, which are disadvantageous in deputies of The Master. The real Herr Wiedkind had remarkable gifts in eradicating those ideas."

  * * * * *

  Jamison sat down and crossed his knees carefully.

  "I looked you up because I knew The Master had killed your father," he added mildly, "and I thought you'd either be hunting The Master or he'd be hunting you. My name's Jamison. I killed the real Wiedkind and took his identification papers. He was a singularly unpleasant beast. His idea of pleasure made him seem a fatherly sort of person, very much like my make-up. He was constantly petting children, and appeared very benign. I am very, very glad that I killed him."

  Ortiz tore at his collar, suddenly. He seemed to be choking.

  "This--this says.... It is The Master's handwriting! I know it! And it says--"

  "It says," Jamison observed calmly, "that since your father killed the previous deputy in an attempt to save you from The Master's poison, that you are to be prepared for the work your father had been assigned. Herr Wiedkind is given special orders about your--ah--moral education. In passing, I might say that your father was sent to the United States because it was known he'd killed the previous deputy. He told Bell he'd done that killing. And he was allowed to grow horribly nervous on his return. He was permitted to see the red spots, because he was officially--even as far as you were concerned--to commit suicide.

  "It was intended that his nervousness was to be noticed. And a plane tried to deliver a message to him. Your father thought the parcel contained the antidote to the poison that was driving him mad. Actually, it was very conventional prussic acid. Your father would have drunk it and dropped dead, a suicide, after a conspicuous period of nervousness and worry."

  * * * * *

  Bell felt his cigarette burning his fingers. He had sat rigid until the thing burned short. He crushed out the coal, looking at Ortiz.

  And Ortiz seemed to gasp for breath. But with an almost superhuman effort he calmed himself outwardly.

  "I--think," he said with some difficulty, "that I should thank you. I do. But I do not think that you told me all of this without some motive. I abandon the service of The Master. But what is it that you wish me to do? You know, of course, that I can order both of you killed...."

  Bell put down the stub of his cigarette very carefully.

  "The only thing you can do," he said quietly, "is to die."

  "True," said Ortiz with a ghastly smile. "But I would like my death to perform some service. The Master has no enemies save you two, and those of us who die on becoming his enemies. I would like, in dying, to do him some harm."

  "I will promise," said Jamison grimly, "to see that The Master dies himself if you will have Bell and myself put in a plane with fuel to Punta Arenas and a reasonable supply of weapons. I include the Señorita Canalejas as a matter of course."

  * * * * *

  Ortiz looked from one to the other. And suddenly he smiled once more. It was queer, that smile. It was not quite mirthless.

  "You were right, just now," he observed calmly, "when as the Herr Wiedkind you said that I would quit the service of The Master when I ceased to despair. I begin to have hopes. You two men have done the impossible. You have fought The Master, you have learned many of his secrets, and you have corrupted a man to treason when treason means suicide. Perhaps, Señores, you will continue to achieve the impossible, and assassinate The Master."

  He stood up, and though deathly pale continued to smile.

  "I suggest, Señor, that you resume your complexion. And you, Señor Bell, you will be returned to your confinement. I will make the necessarily elaborate arrangements for my death."

  Bell rose. He liked this young man. He said quietly:

  "You said just now you wouldn't ask me to shake hands. May I ask you?..." He added almost apologetically as Ortiz's fingers closed upon his: "You see, when your father died I thought that I would be very glad if I felt that I would die as well. But I think"--he smiled wryly--"I think I'll have two examples to think of when my time comes."

  * * * * *

  In the morning a bulky, round shouldered figure entered the room in which Bell was confined.

  "You will follow me," said a harsh voice.

  Bell shrugged. He was marched down long passageways and many steps. He came out into the courtyard, where the glistening black car with the blank windows waited. At an imperious gesture, he got in and sat down with every appearance of composure, as of a man resignedly submitting to force he cannot resist. The thick spectacles of the Herr Wiedkind regarded him with a gogglelike effect. There was a long pause. Then the sound of footsteps. Paula appeared, deathly pale. She was ushered into the vehicle--and only Bell's swift gesture of a finger to his lips checked her cry of relief.

  Voices outside. The guttural Spanish of the Herr Wiedkind. Other, emotionless voices replying. The Herr Wiedkind climbed heavily into the car and sat down, producing a huge revolver which bore steadily upon Bell. The door closed, and he made a swift gesture of caution.

  "Idt may be," said the Germanic voice harshly, "that you and the young ladty haff much to say to each other. But idt can wait. And I warn you, mein Herr, that at the first movement I shall fire."

  Bell relaxed. There was the purring of the motor. The car moved off. Obviously there was some microphonic attachment inside the tonneau which carried every word within the locked vehicle to the ears of the two men upon the chauffeur's seat. An excellent idea for protection against treachery. Bell smiled, and moved so that his lips were a bare half-inch from Paula's ears.

  "Try to weep, loudly," he said in the faintest of whispers. "This man is a friend."

  * * * * *

  But Paula could only stare at the bulky figure sitting opposite until he suddenly removed the spectacles, and smiled dryly, and then reached in his pockets and handed Bell two automatic pistols, and extended a tiny but very wicked weapon to Paula. He motioned to her to conceal it.

  Jamison--moving to make the minimum of noise--handed Bell a sheet of stiff cardboard. It passed into Bell's fingers without a rustle. He showed it silently to Paula.

  We were overheard last night by someone. We don't know who or how much he heard. Dictaphone in the room we talked in. Can't find out who it was or what action he's taken. We may be riding into a trap now. Ortiz has disappeared. He may be dead. We can only wait and see.

  The car was moving as if in city traffic, a swift dash forward and a sudden stop, and then another swift dash. But the walls within were padded so that no sound came from without save the faint vibration of the motor and now and then the distinct flexing of a spring. Then the car turned a corner. It went more rapidly. It turned another corner. And another....

  In the light of the bright dome light, Bell saw beads of sweat coming out on Jamison's face. He did not dare to speak, but be formed words with his lips.

  "He's turning wrong! This isn't the way to the field!"

  Bell's jaws clenched. He took out his two automatics and looked at them carefully. And then, much too short a time from the departure for the flying field to have been reached, the car checked. It went over rough cobblestones, and Bell himself knew well that there had been no cobbled roadway between the flying field and his prison. And then the car went up a sort of ramp, a fairly steep incline which by the feel of the motor was taken in low, and on for a short distance more. Then the car stopped and the motor was cut off.

  Keys rattled in the lock outside. The door opened. The blunt barrel of an automatic pistol peered in.

  (T
o be concluded in the next issue.)

  THE FULL PROJECT GUTENBERG LICENSE

  PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

  This eBook is for the use of anyone anywhere 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.net

  1.E.2. If an individual Project Gutenberg(TM) electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg(TM) trademark as set forth in paragraphs 1.E.8 or 1.E.9.

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

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

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

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

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

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

  - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg(TM) works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg(TM) trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation."

  - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg(TM) License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg(TM) works.

  - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

  - You comply with all other terms of this agreement for free distribution of Project Gutenberg(TM) works.

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

  1.F.

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

  1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg(TM) trademark, and any other party distributing a Project Gutenberg(TM) electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. 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.

 

‹ Prev