The Project Gutenberg EBook of The Moons of Mars, by Dean Evans

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'll have
to check the laws of the country where you are located before using this ebook.

Title: The Moons of Mars

Author: Dean Evans

Release Date: January 2, 2016 [EBook #50826]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE MOONS OF MARS ***




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









                           THE MOONS OF MARS

                             By DEAN EVANS

                         Illustrated by WILLER

           [Transcriber's Note: This etext was produced from
                Galaxy Science Fiction September 1952.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]




             Every boy should be able to whistle, except,
                of course, Martians. But this one did!


He seemed a very little boy to be carrying so large a butterfly net. He
swung it in his chubby right fist as he walked, and at first glance you
couldn't be sure if he were carrying it, or it carrying _him_.

He came whistling. All little boys whistle. To little boys, whistling
is as natural as breathing. However, there was something peculiar about
this particular little boy's whistling. Or, rather, there were two
things peculiar, but each was related to the other.

The first was that he was a Martian little boy. You could be very sure
of that, for Earth little boys have earlobes while Martian little boys
do not--and he most certainly didn't.

The second was the tune he whistled--a somehow familiar tune, but one
which I should have thought not very appealing to a little boy.

"Hi, there," I said when he came near enough. "What's that you're
whistling?"

He stopped whistling and he stopped walking, both at the same time, as
though he had pulled a switch or turned a tap that shut them off. Then
he lifted his little head and stared up into my eyes.

"'The Calm'," he said in a sober, little-boy voice.

"The _what_?" I asked.

"From the William Tell Overture," he explained, still looking up at me.
He said it deadpan, and his wide brown eyes never once batted.

"Oh," I said. "And where did you learn that?"

"My mother taught me."

I blinked at him. He didn't blink back. His round little face still
held no expression, but if it had, I knew it would have matched the
title of the tune he whistled.

"You whistle very well," I told him.

That pleased him. His eyes lit up and an almost-smile flirted with the
corners of his small mouth.

He nodded grave agreement.

"Been after butterflies, I see. I'll bet you didn't get any. This is
the wrong season."

The light in his eyes snapped off. "Well, good-by," he said abruptly
and very relevantly.

"Good-by," I said.

His whistling and his walking started up again in the same spot where
they had left off. I mean the note he resumed on was the note which
followed the one interrupted; and the step he took was with the left
foot, which was the one he would have used if I hadn't stopped him.
I followed him with my eyes. An unusual little boy. A most precisely
_mechanical_ little boy.

When he was almost out of sight, I took off after him, wondering.

The house he went into was over in that crumbling section which forms
a curving boundary line, marking the limits of those frantic and ugly
original mine-workings made many years ago by the early colonists. It
seems that someone had told someone who had told someone else that
here, a mere twenty feet beneath the surface, was a vein as wide as
a house and as long as a fisherman's alibi, of pure--_pure_, mind
you--gold.

Back in those days, to be a colonist meant to be a rugged individual.
And to be a rugged individual meant to not give a damn one way or
another. And to not give a damn one way or another meant to make one
hell of a mess on the placid face of Mars.

There had not been any gold found, of course, and now, for the most
part, the mining shacks so hastily thrown up were only fever scars
of a sickness long gone and little remembered. A few of the houses
were still occupied, like the one into which the Martian boy had just
disappeared.

So his _mother_ had taught him the William Tell Overture, had she?
That tickling thought made me chuckle as I stood before the ramshackle
building. And then, suddenly, I stopped chuckling and began to think,
instead, of something quite astonishing:

How had it been possible for her to teach, and for him to whistle?

_All Martians are as tone-deaf as a bucket of lead._

I went up three slab steps and rapped loudly on the weather-beaten door.

       *       *       *       *       *

The woman who faced me may have been as young as twenty-two, but
she didn't look it. That shocked look, which comes with the first
realization that youth has slipped quietly away downstream in the
middle of the night, and left nothing but frightening rocks of middle
age to show cold and gray in the hard light of dawn, was like the
validation stamp of Time itself in her wide, wise eyes. And her voice
wasn't young any more, either.

"Well? And what did I do now?"

"I beg your pardon?" I said.

"You're Mobile Security, aren't you? Or is that badge you're wearing
just something to cover a hole in your shirt?"

"Yes, I'm Security, but does it have to mean something?" I asked. "All
I did was knock on your door."

"I heard it." Her lips were curled slightly at one corner.

I worked up a smile for her and let her see it for a few seconds before
I answered: "As a matter of fact, I don't want to see _you_ at all. I
didn't know you lived here and I don't know who you are. I'm not even
interested in who you are. It's the little boy who just went in here
that I was interested in. The little Martian boy, I mean."

Her eyes spread as though somebody had put fingers on her lids at the
outside corners and then cruelly jerked them apart.

"Come in," she almost gasped.

I followed her. When I leaned back against the plain door, it closed
protestingly. I looked around. It wasn't much of a room, but then you
couldn't expect much of a room in a little ghost of a place like this.
A few knickknacks of the locality stood about on two tables and a
shelf, bits of rock with streak-veins of fused corundum; not bad if you
like the appearance of squeezed blood.

There were two chairs and a large table intended to match the chairs,
and a rough divan kind of thing made of discarded cratings which had
probably been hauled here from the International Spaceport, ten miles
to the West. In the back wall of the room was a doorway that led dimly
to somewhere else in the house. Nowhere did I see the little boy. I
looked once again at the woman.

"What about him?" she whispered.

Her eyes were still startled.

I smiled reassuringly. "Nothing, lady, nothing. I'm sorry I upset you.
I was just being nosy is all, and that's the truth of it. You see, the
little boy went by me a while ago and he was whistling. He whistles
remarkably well. I asked him what the name of the tune was and he told
me it was the 'Calm' from William Tell. He also told me his mother had
taught him."

Her eyes hadn't budged from mine, hadn't flickered. They might have
been bright, moist marbles glued above her cheeks.

She said one word only: "Well?"

"Nothing," I answered. "Except that Martians are supposed to be
tone-deaf, aren't they? It's something lacking in their sense of
hearing. So when I heard this little boy, and saw he was a Martian, and
when he told me his _mother_ had taught him--" I shrugged and laughed a
little. "Like I said before, I guess I got just plain nosy."

She nodded. "We agree on that last part."

Perhaps it was her eyes. Or perhaps it was the tone of her voice. Or
perhaps, and more simply, it was her attitude in general. But whatever
it was, I suddenly felt that, nosy or not, I was being treated shabbily.

"I would like to speak to the Martian lady," I said.

"There isn't any Martian lady."

"There _has_ to be, doesn't there?" I said it with little sharp
prickers on the words.

But she did, too: "_Does there?_"

I gawked at her and she stared back. And the stare she gave me was hard
and at the same time curiously defiant--as though she would dare me to
go on with it. As though she figured I hadn't the guts.

For a moment, I just blinked stupidly at her, as I had blinked stupidly
at the little boy when he told me his mother had taught him how to
whistle. And then--after what seemed to me a very long while--I slowly
tumbled to what she meant.

Her eyes were telling me that the little Martian boy wasn't a little
Martian boy at all, that he was cross-breed, a little chap who had a
Martian father and a human, Earthwoman mother.

It was a startling thought, for there just aren't any such mixed
marriages. Or at least I had thought there weren't. Physically,
spiritually, mentally, or by any other standard you can think of,
compared to a human male the Martian isn't anything you'd want around
the house.

I finally said: "So that is why he is able to whistle."

She didn't answer. Even before I spoke, her eyes had seen the correct
guess which had probably flashed naked and astounded in my own eyes.
And then she swallowed with a labored breath that went trembling down
inside her.

"There isn't anything to be ashamed of," I said gently. "Back on Earth
there's a lot of mixtures, you know. Some people even claim there's no
such thing as a pure race. I don't know, but I guess we all started
somewhere and intermarried plenty since."

She nodded. Somehow her eyes didn't look defiant any more.

"Where's his father?" I asked.

"H-he's dead."

"I'm sorry. Are you all right? I mean do you get along okay and
everything, now that...?"

I stopped. I wanted to ask her if she was starving by slow degrees and
needed help. Lord knows the careworn look about her didn't show it was
luxurious living she was doing--at least not lately.

"Look," I said suddenly. "Would you like to go home to Earth? I could
fix--"

But that was the wrong approach. Her eyes snapped and her shoulders
stiffened angrily and the words that ripped out of her mouth were not
coated with honey.

"Get the hell out of here, you fool!"

I blinked again. When the flame in her eyes suddenly seemed to grow
even hotter, I turned on my heel and went to the door. I opened it,
went out on the top slab step. I turned back to close the door--and
looked straight into her eyes.

She was crying, but that didn't mean exactly what it looked like it
might mean. Her right hand had the door edge gripped tightly and she
was swinging it with all the strength she possessed. And while I still
stared, the door slammed savagely into the casing with a shock that
jarred the slab under my feet, and flying splinters from the rotten
woodwork stung my flinching cheeks.

I shrugged and turned around and went down the steps. "And that is the
way it goes," I muttered disgustedly to myself. Thinking to be helpful
with the firewood problem, you give a woman a nice sharp axe and she
immediately puts it to use--on you.

I looked up just in time to avoid running into a spread-legged man who
was standing motionless directly in the middle of the sand-path in
front of the door. His hands were on his hips and there was something
in his eyes which might have been a leer.

       *       *       *       *       *

"Pulled a howler in there, eh, mate?" he said. He chuckled hoarsely
in his throat. "Not being exactly deaf, I heard the tail end of it."
His chuckle was a lewd thing, a thing usually reserved--if it ever
was reserved at all--for the mens' rooms of some of the lower class
dives. And then he stopped chuckling and frowned instead and said
complainingly:

"Regular little spitfire, ain't she? I ask you now, wouldn't you think
a gal which had got herself in a little jam, so to speak, would be more
reasonable--"

His words chopped short and he almost choked on the final unuttered
syllable. His glance had dropped to my badge and the look on his face
was one of startled surprise.

"I--" he said.

I cocked a frown of my own at him.

"Well, so long, mate," he grunted, and spun around and dug his toes
in the sand and was away. I stood there staring at his rapidly
disappearing form for a few moments and then looked back once more at
the house. A tattered cotton curtain was just swinging to in the dirty,
sand-blown window. That seemed to mean the woman had been watching. I
sighed, shrugged again and went away myself.

When I got back to Security Headquarters, I went to the file and began
to rifle through pictures. I didn't find the woman, but I did find the
man.

He was a killer named Harry Smythe.

I took the picture into the Chief's office and laid it on his desk,
waited for him to look down at it and study it for an instant, and then
to look back up to me. Which he did.

"So?" he said.

"Wanted, isn't he?"

He nodded. "But a lot of good that'll do. He's holed up somewhere back
on Earth."

"No," I said. "He's right here. I just saw him."

"_What?_" He nearly leaped out of his chair.

"I didn't know who he was at first," I said. "It wasn't until I looked
in the files--"

He cut me off. His hand darted into his desk drawer and pulled out an
Authority Card. He shoved the card at me. He growled: "Kill or capture,
I'm not especially fussy which. Just _get_ him!"

I nodded and took the card. As I left the office, I was thinking of
something which struck me as somewhat more than odd.

I had idly listened to a little half-breed Martian boy whistling part
of the William Tell Overture, and it had led me to a wanted killer
named Harry Smythe.

       *       *       *       *       *

Understandably, Mr. Smythe did not produce himself on a silver platter.
I spent the remainder of the afternoon trying to get a lead on him and
got nowhere. If he was hiding in any of the places I went to, then he
was doing it with mirrors, for on Mars an Authority Card is the big
stick than which there is no bigger. Not solely is it a warrant, it is
a commandeer of help from anyone to whom it is presented; and wherever
I showed it I got respect.

I got instant attention. I got even more: those wraithlike tremblings
in the darker corners of saloons, those corners where light never seems
quite to penetrate. You don't look into those. Not if you're anything
more than a ghoul, you don't.

Not finding him wasn't especially alarming. What was alarming, though,
was not finding the Earthwoman and her little half-breed Martian son
when I went back to the tumbledown shack where they lived. It was
empty. She had moved fast. She hadn't even left me a note saying
good-by.

That night I went into the Great Northern desert to the Haremheb
Reservation, where the Martians still try to act like Martians.

It was Festival night, and when I got there they were doing the dance
to the two moons. At times like this you want to leave the Martians
alone. With that thought in mind, I pinned my Authority Card to my
lapel directly above my badge, and went through the gates.

The huge circle fire was burning and the dance was in progress.
Briefly, this can be described as something like the ceremonial dances
put on centuries ago by the ancient aborigines of North America. There
was one important exception, however. Instead of a central fire, the
Martians dig a huge circular trench and fill it with dried roots of the
_belu_ tree and set fire to it. Being pitch-like, the gnarled fragments
burn for hours. Inside this ring sit the spectators, and in the exact
center are the dancers. For music, they use the drums.

The dancers were both men and women and they were as naked as Martians
can get, but their dance was a thing of grace and loveliness. For an
instant--before anyone observed me--I stood motionless and watched
the sinuously undulating movements, and I thought, as I have often
thought before, that this is the one thing the Martians can still do
beautifully. Which, in a sad sort of way, is a commentary on the way
things have gone since the first rocket-blasting ship set down on these
purple sands.

I felt the knife dig my spine. Carefully I turned around and pointed my
index finger to my badge and card. Bared teeth glittered at me in the
flickering light, and then the knife disappeared as quickly as it had
come.

"Wahanhk," I said. "The Chief. Take me to him."

The Martian turned, went away from the half-light of the circle. He led
me some yards off to the north to a swooping-tent. Then he stopped,
pointed.

"Wahanhk," he said.

I watched him slip away.

Wahanhk is an old Martian. I don't think any Martian before him has
ever lived so long--and doubtless none after him will, either. His
leathery, almost purple-black skin was rough and had a charred look
about it, and up around the eyes were little plaits and folds that had
the appearance of being done deliberately by a Martian sand-artist.

"Good evening," I said, and sat down before him and crossed my legs.

He nodded slowly. His old eyes went to my badge.

From there they went to the Authority Card.

"Power sign of the Earthmen," he muttered.

"Not necessarily," I said. "I'm not here for trouble. I know as well as
you do that, before tonight is finished, more than half of your men
and women will be drunk on illegal whiskey."

He didn't reply to that.

"And I don't give a damn about it," I added distinctly.

His eyes came deliberately up to mine and stopped there. He said
nothing. He waited. Outside, the drums throbbed, slowly at first, then
moderated in tempo. It was like the throbbing--or sobbing, if you
prefer--of the old, old pumps whose shafts go so tirelessly down into
the planet for such pitifully thin streams of water.

"I'm looking for an Earthwoman," I said. "This particular Earthwoman
took a Martian for a husband."

"That is impossible," he grunted bitterly.

"I would have said so, too," I agreed. "Until this afternoon, that is."

His old, dried lips began to purse and wrinkle.

"I met her little son," I went on. "A little semi-human boy with
Martian features. Or, if you want to turn it around and look at the
other side, a little Martian boy who whistles."

His teeth went together with a snap.

I nodded and smiled. "You know who I'm talking about."

For a long long while he didn't answer. His eyes remained unblinking on
mine and if, earlier in the day, I had thought the little boy's face
was expressionless, then I didn't completely appreciate the meaning of
that word. Wahanhk's face was more than expressionless; it was simply
blank.

"They disappeared from the shack they were living in," I said. "They
went in a hurry--a very great hurry."

That one he didn't answer, either.

"I would like to know where she is."

"Why?" His whisper was brittle.

"She's not in trouble," I told him quickly. "She's not wanted. Nor her
child, either. It's just that I have to talk to her."

"Why?"

I pulled out the file photo of Harry Smythe and handed it across to
him. His wrinkled hand took it, pinched it, held it up close to a lamp
hanging from one of the ridge poles. His eyes squinted at it for a long
moment before he handed it back.

"I have never seen this Earthman," he said.

"All right," I answered. "There wasn't anything that made me think you
had. The point is that he knows the woman. It follows, naturally, that
she might know him."

"This one is _wanted_?" His old, broken tones went up slightly on the
last word.

I nodded. "For murder."

"Murder." He spat the word. "But not for the murder of a Martian, eh?
Martians are not that important any more." His old eyes hated me with
an intensity I didn't relish.

"You said that, old man, not I."

A little time went by. The drums began to beat faster. They were
rolling out a lively tempo now, a tempo you could put music to.

He said at last: "I do not know where the woman is. Nor the child."

He looked me straight in the eyes when he said it--and almost before
the words were out of his mouth, they were whipped in again on a
drawn-back, great, sucking breath. For, somewhere outside, somewhere
near that dancing circle, in perfect time with the lively beat of the
drums, somebody was whistling.

It was a clear, clean sound, a merry, bright, happy sound, as sharp
and as precise as the thrust of a razor through a piece of soft yellow
cheese.

"In your teeth, Wahanhk! Right in your teeth!"

He only looked at me for another dull instant and then his eyes slowly
closed and his hands folded together in his lap. Being caught in a lie
only bores a Martian.

I got up and went out of the tent.

       *       *       *       *       *

The woman never heard me approach. Her eyes were toward the flaming
circle and the dancers within, and, too, I suppose, to her small son
who was somewhere in that circle with them, whistling. She leaned
against the bole of a _belu_ tree with her arms down and slightly
curled backward around it.

"That's considered bad luck," I said.

Her head jerked around with my words, reflected flames from the circle
fire still flickering in her eyes.

"That's a _belu_ tree," I said. "Embracing it like that is like looking
for a ladder to walk under. Or didn't you know?"

"Would it make any difference?" She spoke softly, but the words came to
me above the drums and the shouts of the dancers. "How much bad luck
can you have in one lifetime, anyway?"

I ignored that. "Why did you pull out of that shack? I told you you had
nothing to fear from me."

She didn't answer.

"I'm looking for the man you saw me talking with this morning," I went
on. "Lady, he's wanted. And this thing, on my lapel is an Authority
Card. Assuming you know what it means, I'm asking you where he is."

"What man?" Her words were flat.

"His name is Harry Smythe."

If that meant anything to her, I couldn't tell. In the flickering light
from the fires, subtle changes in expression weren't easily detected.

"Why should I care about an Earthman? My husband was a Martian. And
he's dead, see? Dead. Just a Martian. Not fit for anything, like all
Martians. Just a bum who fell in love with an Earthwoman and had the
guts to marry her. Do you understand? So somebody murdered him for it.
Ain't that pretty? Ain't that something to make you throw back your
head and be proud about? Well, ain't it? And let me tell you, Mister,
whoever it was, I'll get him. _I'll get him!_"

I could see her face now, all right. It was a twisted, tortured thing
that writhed at me in its agony. It was small yellow teeth that bared
at me in viciousness. It was eyes that brimmed with boiling, bubbling
hate like a ladle of molten steel splashing down on bare, white flesh.
Or, simply, it was the face of a woman who wanted to kill the killer of
her man.

And then, suddenly, it wasn't. Even though the noise of the dance and
the dancers was loud enough to command the attention and the senses. I
could still hear her quiet sobbing, and I could see the heaving of the
small, thin shoulders.

And I knew then the reason for old Wahanhk's bitterness when he had
said to me, "But not for the murder of a Martian, eh? Martians are not
that important any more."

What I said then probably sounded as weak as it really was: "I'm sorry,
kid. But look, just staking out in that old shack of yours and trying
to pry information out of the type of men who drifted your way--well, I
mean there wasn't much sense in that, now was there?"

I put an arm around her shoulders. "He must have been a pretty nice
guy," I said. "I don't think you'd have married him if he wasn't."

I stopped. Even in my own ears, my words sounded comfortless. I looked
up, over at the flaming circle and at the sweat-laved dancers within
it. The sound of the drums was a wild cacophonous tattoo now, a rattle
of speed and savagery combined; and those who moved to its frenetic
jabberings were not dancers any more, but only frenzied, jerking
figurines on the strings of a puppeteer gone mad.

I looked down again at the woman. "Your little boy and his butterfly
net," I said softly. "In a season when no butterflies can be found.
What was that for? Was he part of the plan, too, and the net just the
alibi that gave him a passport to wander where he chose? So that he
could listen, pick up a little information here, a little there?"

She didn't answer. She didn't have to answer. My guesses can be as good
as anybody's.

After a long while she looked up into my eyes. "His name was Tahily,"
she said. "He had the secret. He knew where the gold vein was. And
soon, in a couple of years maybe, when all the prospectors were gone
and he knew it would be safe, he was going to stake a claim and go
after it. For us. For the three of us."

I sighed. There wasn't, isn't, never will be any gold on this planet.
But who in the name of God could have the heart to ruin a dream like
that?

       *       *       *       *       *

Next day I followed the little boy. He left the reservation in a cheery
frame of mind, his whistle sounding loud and clear on the thin morning
air. He didn't go in the direction of town, but the other way--toward
the ruins of the ancient Temple City of the Moons. I watched his chubby
arm and the swinging of the big butterfly net on the end of that arm.
Then I followed along in his sandy tracks.

It was desert country, of course. There wasn't any chance of tailing
him without his knowledge and I knew it. I also knew that before long
he'd know it, too. And he did--but he didn't let me know he did until
we came to the rag-cliffs, those filigree walls of stone that hide the
entrance to the valley of the two moons.

Once there, he paused and placed his butterfly net on a rock ledge and
then calmly sat down and took off his shoes to dump the sand while he
waited for me.

"Well," I said. "Good morning."

He looked up at me. He nodded politely. Then he put on his shoes again
and got to his feet.

"You've been following me," he said, and his brown eyes stared
accusingly into mine.

"I have?"

"That isn't an honorable thing to do," he said very gravely. "A
gentleman doesn't do that to another gentleman."

I didn't smile. "And what would you have me do about it?"

"Stop following me, of course, sir."

"Very well," I said. "I won't follow you any more. Will that be
satisfactory?"

"Quite, sir."

Without another word, he picked up his butterfly net and disappeared
along a path that led through a rock crevice. Only then did I allow
myself to grin. It was a sad and pitying and affectionate kind of grin.

I sat down and did with my shoes as he had done. There wasn't any
hurry; I knew where he was going. There could only be one place, of
course--the city of Deimos and Phobos. Other than that he had no
choice. And I thought I knew the reason for his going.

Several times in the past, there have been men who, bitten with the
fever of an idea that somewhere on this red planet there must be gold,
have done prospecting among the ruins of the old temples. He had
probably heard that there were men there now, and he was carrying out
with the thoroughness of his precise little mind the job he had set
himself of finding the killer of his daddy.

I took a short-cut over the rag-cliffs and went down a winding,
sand-worn path. The temple stones stood out barren and dry-looking,
like breast bones from the desiccated carcass of an animal. For a
moment I stopped and stared down at the ruins. I didn't see the boy. He
was somewhere down there, though, still swinging his butterfly net and,
probably, still whistling.

I started up once more.

And then I heard it--a shrill blast of sound in an octave of urgency; a
whistle, sure, but a warning one.

I stopped in my tracks from the shock of it. Yes, I knew from whom it
had come, all right. But I didn't know why.

And then the whistle broke off short. One instant it was in the air,
shrieking with a message. The next it was gone. But it left tailings,
like the echo of a death cry slowly floating back over the dead body of
the creature that uttered it.

I dropped behind a fragment of the rag-cliff. A shot barked out
angrily. Splinters of the rock crazed the morning air.

The little boy screamed. Just once.

I waited. There was a long silence after that. Then, finally, I took
off my hat and threw it out into the valley. The gun roared once more.
This time I placed it a little to the left below me. I took careful
sighting on the hand that held that gun--and I didn't miss it.

It was Harry Smythe, of course. When I reached him, he had the injured
hand tucked tightly in the pit of his other arm. There was a grim look
in his eyes and he nodded as I approached him.

"Good shooting, mate. Should be a promotion in it for you. Shooting
like that, I mean."

"That's nice to think about," I said. "Where's the boy? I owe him a
little something. If he hadn't whistled a warning, you could have
picked me off neat."

"I would." He nodded calmly.

"Where is he?"

"Behind the rock there. In that little alcove, sort of." He indicated
with his chin.

I started forward. I watched him, but I went toward the rock.

"Just a minute, mate."

I stopped. I didn't lower my gun.

"That bloody wench we spoke about yesterday. You know, out in front of
that shack? Well, just a thought, of course, but if you pull me in and
if I get _it_, what'll become of her, do you suppose? Mean to say, I
couldn't support her when I was dead, could I?"

"Support her?" Surprise jumped into my voice.

"What I said. She's my wife, you know. Back on Earth, I mean. I skipped
out on her a few years back, but yesterday I was on my way to looking
her up when you--"

"She didn't recognize the name Harry Smythe," I said coldly. "I'm
afraid you'll have to think a little faster."

"Of course she didn't! How could she? That ain't my name. What made you
think it was?"

Bright beads of sweat sparkled on his forehead, and his lips had that
frantic looseness of lips not entirely under control.

"You left her," I grunted. "But you followed her across space anyway.
Just to tell her you were sorry and you wanted to come back. Is that
it?"

"Well--" His eyes were calculating. "Not the God's honest, mate, no.
I didn't know she was here. Not at first. But there was this Spider,
see? This Martian. His name was Tahily and he used to hang around the
saloons and he talked a lot, see? Then's when I knew...."

"So it was you who killed him," I said. "One murder wasn't enough
back on Earth; you had to pile them up on the planets." I could feel
something begin to churn inside of me.

"Wait! Sure, I knocked off the Martian. But a fair fight, see? That
Spider jumped my claim. A fair fight it was, and anybody'd done the
same. But even without that, he had it coming anyway, wouldn't you
say? Bigamist and all that, you know? I mean marrying a woman already
married."

His lips were beginning to slobber. I watched them with revulsion in my
stomach.

"Wouldn't you say, mate? Just a lousy, stinking Martian, I mean!"

I swallowed. I turned away and went around the rock and looked down.
One look was enough. Blood was running down the cheek of the prone
little Martian boy, and it was coming from his mouth. Then I turned
back to the shaking man.

"Like I say, mate! I mean, what would you've done in my place?
Whistling always did drive me crazy. I can't stand it. A phobia, you
know. People _suffer_ from phobias!"

"What did you do?" I took three steps toward him. I felt my lips
straining back from my teeth.

"Wait now, mate! Like I say, it's a phobia. I can't stand whistling. It
makes me suffer--"

"So you cut out his tongue?"

I didn't wait for his answer. I couldn't wait. While I was still calm,
I raised my gun on his trembling figure. I didn't put the gun up again
until his body stopped twitching and his fingers stopped clawing in the
sands.

       *       *       *       *       *

From the desk to the outside door, the hospital corridor runs just a
few feet. But I'd have known her at any distance. I sighed, got to my
feet and met her halfway.

She stopped before me and stared up into my eyes. She must have run all
the way when she got my message, for although she was standing as rigid
as a pole in concrete, something of her exhaustion showed in her eyes.

"Tell me," she said in a panting whisper.

"Your boy is going to be okay." I put my arm around her. "Everything's
under control. The doctors say he's going to live and pull through
and...."

I stopped. I wondered what words I was going to use when no words that
I had ever heard in my life would be the right ones.

"Tell me." She pulled from my grasp and tilted her head so that she
could look up into my eyes and read them like a printed page. "_Tell
me!_"

"He cut out the boy's--he said he couldn't stand whistling. It was a
phobia, he claimed. Eight bullets cured his phobia, if any."

"He cut out what?"

"Your son's tongue."

I put my arm around her again, but it wasn't necessary. She didn't cry
out, she didn't slump. Her head did go down and her eyes did blink once
or twice, but that was all.

"He was the only little boy on Mars who could whistle," she said.

All of the emotion within her was somehow squeezed into those few words.

       *       *       *       *       *

I couldn't get it out of my mind for a long while. I used to lie in bed
and think of it somewhat like this:

There was this man, with his feet planted in the purple sands, and
he looked up into the night sky when the moon called Deimos was in
perigee, and he studied it. And he said to himself, "Well, I shall
write a book and I shall say in this book that the moon of Mars is thus
and so. And I will be accurately describing it, for in truth the moon
_is_ thus and so."

And on the other side of the planet there was another man. And he, too,
looked up into the night sky. And he began to study the moon called
_Phobos_. And he, too, decided to write a book. And he knew he could
accurately describe the moon of Mars, for his own eyes had told him it
looked like thus and so. And his own eyes did not lie.

I thought of it in a manner somewhat like that. I could tell the woman
that Harry Smythe, her first husband, was the man who had killed
Tahily, the Martian she loved. I could tell her Smythe had killed him
in a fair fight because the Martian had tried to jump a claim. And her
heart would be set to rest, for she would know that the whole thing was
erased and done with, at last.

Or, on the other hand, I could do what I eventually did do. I could
tell her absolutely nothing, in the knowledge that that way she would
at least have the strength of hate with which to sustain herself
through the years of her life. The strength of her hate against this
man, whoever he might be, plus the chill joy of anticipating the
day--maybe not tomorrow, but some day--when, like the dream of finding
gold on Mars, she'd finally track him down and kill him.

I couldn't leave her without a reason for living. Her man was dead and
her son would never whistle again. She had to have something to live
for, didn't she?





End of the Project Gutenberg EBook of The Moons of Mars, by Dean Evans

*** END OF THIS PROJECT GUTENBERG EBOOK THE MOONS OF MARS ***

***** This file should be named 50826.txt or 50826.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/0/8/2/50826/

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

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

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

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* You comply with all other terms of this agreement for free
  distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, 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
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg-tm

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

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



Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its 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 web site and
official page at www.gutenberg.org/contact

For additional contact information:

    Dr. Gregory B. Newby
    Chief Executive and Director
    gbnewby@pglaf.org

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

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

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

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

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

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

Section 5. General Information About Project Gutenberg-tm electronic works.

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

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

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

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