Welcome

Welcome
John William Tuohy lives in Washington DC

A short story by Virginia Wolfe

A Haunted House

Whatever hour you woke there was a door shutting. From room to room they went, hand in hand, lifting here, opening there, making sure—a ghostly couple.
"Here we left it," she said. And he added, "Oh, but here too!" "It's upstairs," she murmured. "And in the garden," he whispered "Quietly," they said, "or we shall wake them."
But it wasn't that you woke us. Oh, no. "They're looking for it; they're drawing the curtain," one might say, and so read on a page or two. "Now they've found it," one would be certain, stopping the pencil on the margin. And then, tired of reading, one might rise and see for oneself, the house all empty, the doors standing open, only the wood pigeons bubbling with content and the hum of the threshing machine sounding from the farm. "What did I come in here for? What did I want to find?" My hands were empty. "Perhaps it's upstairs then?" The apples were in the loft. And so down again, the garden still as ever, only the book had slipped into the grass.
But they had found it in the drawing room. Not that one could ever see them. The window panes reflected apples, reflected roses; all the leaves were green in the glass. If they moved in the drawing room, the apple only turned its yellow side. Yet, the moment after, if the door was opened, spread about the floor, hung upon the walls, pendant from the ceiling—what? My hands were empty. The shadow of a thrush crossed the carpet; from the deepest wells of silence the wood pigeon drew its bubble of sound. "Safe, safe, safe," the pulse of the house beat softly. "The treasure buried; the room..." the pulse stopped short. Oh, was that the buried treasure?
A moment later the light had faded. Out in the garden then? But the trees spun darkness for a wandering beam of sun. So fine, so rare, coolly sunk beneath the surface the beam I sought always burnt behind the glass. Death was the glass; death was between us; coming to the woman first, hundreds of years ago, leaving the house, sealing all the windows; the rooms were darkened. He left it, left her, went North, went East, saw the stars turned in the Southern sky; sought the house, found it dropped beneath the Downs. "Safe, safe, safe," the pulse of the house beat gladly. "The Treasure yours."
The wind roars up the avenue. Trees stoop and bend this way and that. Moonbeams splash and spill wildly in the rain. But the beam of the lamp falls straight from the window. The candle burns stiff and still. Wandering through the house, opening the windows, whispering not to wake us, the ghostly couple seek their joy.
"Here we slept," she says. And he adds, "Kisses without number." "Waking in the morning—" "Silver between the trees —" "Upstairs—" "In the garden—" "When summer came—" "In winter snowtime—" The doors go shutting far in the distance, gently knocking like the pulse of a heart.
Nearer they come; cease at the doorway. The wind falls, the rain slides silver down the glass. Our eyes darken; we hear no steps beside us; we see no lady spread her ghostly cloak. His hands shield the lantern. "Look," he breathes. "Sound asleep. Love upon their lips."
Stooping, holding their silver lamp above us, long they look and deeply. Long they pause. The wind drives straightly; the flame stoops slightly. Wild beams of moonlight cross both floor and wall, and, meeting, stain the faces bent; the faces pondering; the faces that search the sleepers and seek their hidden joy.
"Safe, safe, safe," the heart of the house beats proudly. "Long years—" he sighs. "Again you found me." "Here," she murmurs, "sleeping; in the garden reading; laughing, rolling apples in the loft. Here we left our treasure—" Stooping, their light lifts the lids upon my eyes. "Safe! safe! safe!" the pulse of the house beats wildly. Waking, I cry "Oh, is this your buried treasure? The light in the heart."

Mary Oliver, “Wild Geese”

You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting -
over and over announcing your place
in the family of things.

Greetings playwrights





*** FREE THEATER ONLINE ***

Skirmish over Skegness
By Benjamin Peel

Skirmish over Skegness is part of a series of Yesteryear Plays written by Benjamin Peel and produced for the 2020 SOfa Fest by Breakwater Theatre.

On 21 August 1940 an air battle was fought over the Lincolnshire coast in what became known as the Skirmish over Skegness.

This audio drama starts and finishes in the present day when the lock down was at it’s strictest and a young girl Facetimes her great Granddad, Billy, asking for his memories of a lesser known incident that took place during the Battle of Britain over Skegness when he was a young boy. The action of the incident is then dramatised fictionally with a few of the characters having personal connections to each other. By topping and tailing it with  the 2020 crisis some comparisons can be made between then and now and with the character of Billy able to put the perspective of old age on both.

https://www.youtube.com/watch?v=6aZFerbjFfU&feature=youtu.be&fbclid=IwAR3H-Y2G-EmdYWV1MZ2dshM9isanWJTsCAVSJUiU3llo36YhwZC8JkfbMvE


*** CONGRATULATIONS & THANKS FOR SHARING ***

NYCPlaywrights received very nice letters from two playwrights who found opportunities through NYCPlaywrights and shared their stories with us. Congratulations to Sharon Baker and David Kurkowski and wishing you continuing success. We're glad if NYCPlaywrights has been helpful.

*** SHARON BAKER ***

Hi NYC Playwrights Friends,

You have literally launched my playwriting career. I read about the Dramatists Guild on your site.
The DGA sponsored my world premiere reading of BIRTHDAY PARTY AT THE DALAI LAMA’S PALACE, a two act comedy about the meaning of life. The reading was on ZOOM, July, 2020. A fab team of actors brought the play to life through ZOOM. Anyone can read it on National Play Exchange, under Sharon Baker.
https://newplayexchange.org/users/13604/sharon-baker

That reading invited magazine/newspaper editors to assign me essays on becoming a playwright.
Anyone can read my essay, STAY SANE MY FRIENDS, online: http://www.itsallpink.com.

So thanks to NYC Playwrights for the wonderful continuing opportunities.
Especially for those of us who live faraway, like me.

Sharon Baker ~ Hilton Head Island, SC


*** DAVID KURKOWSKI ***

I received this notification on June 12.

================
Subject: 2020 JWM Playwriting Contest - Results
Date: June 12, 2020 at 5:09:54 PM EDT

Thank you to all of our entries into the 2019-2020 Jackie White Memorial International Playwriting Contest!!
 At this time, Columbia Entertainment Company is proud to announce THE WINNERS of the 2019-2020 JWM Contest:

 First Place:
Curie the Musical
By David Kurkowski
Philadelphia, PA
================

Thank you, NYCPlaywrights, for letting me know about this opportunity.  Columbia has promised a staged reading at some point. Madame Curie (the new title) also had a successful on-line reading on Create Theater on June 1. Despite the pandemic, theatre plods onward.
My website is https://www.curiethemusical.com

David Kurkowski


*** PRIMARY STAGES ***

NOW ENROLLING: Fall 2020 Online Classes at Primary Stages ESPA!
Start a First Draft, keep working on Rewriting Your Draft, learn the Fundamentals of Playwriting, or try your hand at Comedy Writing or a TV Pilot. Faculty includes ABE KOOGLER (Obie Winner, Fulfillment Center), MICHAEL WALKUP (Producing Artistic Director, Page 73), MELISA ANNIS (Writer, Director, Dramaturg, NYU Faculty), NIKKOLE SALTER (Writer, Pulitzer Prize-Nominated In the Continuum), DANIEL TALBOTT (Writer, "The Conners"), and many other award-winning writers who provide practical skills and expert guidance in a collaborative atmosphere. Classes begin mid-September.
Flexible, artist-friendly payment plans available.
http://primarystages.org/espa/writing.



*** OPPORTUNITIES FOR PLAYWRIGHTS ***

The Snowdance® 10 Minute Comedy Festival is a festival of original comedies that run 10 minutes or less. Submitted scripts will be judged by the Snowdance Selection Committee. A selection of scripts will be chosen for production during the Snowdance Festival in the winter of 2021. Audiences attending Snowdance performances will have the ability to vote for the production they enjoyed the most. The votes will be tallied throughout the five-week festival run, and the Snowdance “Best in Snow” will be awarded to the winning playwright after the final performance on a date to be determined.
Cash award of $500.00 to “Best in Snow,” with $200.00 awarded to second place and $100 for third place.

***

Same Boat Theater Collective is soliciting short plays and theatrical pieces for EarthQuake: Moving the Earth with Our Voices, a global Zoom festival of performances to further the cause of environmental justice.
We are looking for theater pieces that raise the awareness of how specific environmental issues affect the lives and communities of the underrepresented and underprivileged among us. The festival intends to produce work that gives an opportunity for a diversity of voices to be heard, with an emphasis on underrepresented and underprivileged artists. Same Boat will cast and direct the zoom performances.

***

Rockford New Words Festival
10 Minutes of Words Written for Live Performance
Theme: WE CAN’T BREATHE
Award: $200


*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***



*** VOTES FOR WOMEN ON STAGE ***

Tony winner RenĂ©e Elise Goldsberry, Tony nominee Phillipa Soo, and Jasmine Cephas Jones—the trio who originated the Schuyler sisters in Hamilton—will virtually reunite with Lin-Manuel Miranda during a special celebration in honor of the 100th anniversary of women's suffrage.

Moderated by journalist Soledad O'Brien, the event will take place August 25 at 8:30 PM ET on Zoom, open to donors who pledge $10 or more to the Latino Victory Fund. Donations will support the charity's aim to grow Latinx political power in all levels of government.

The virtual fundraiser will feature Soo, Goldsberry, and Jones discussing the role of women in Hamilton, the rehearsal process, and their perspectives on performing in the show as women of color—who were not allowed to vote until 1965 with the passing of the Civil Rights Act.

More...
https://www.playbill.com/article/phillipa-soo-renee-elise-goldsberry-and-jasmine-cephas-jones-to-celebrate-womens-suffrage


***

The cast of "19: The Musical" is in the middle of a weeknight rehearsal at an Arlington community theater. It's crunch time: They're performing in the show's premiere next week at D.C.'s National Museum of Women in the Arts.

Most of the women wear the typical rehearsal gear of spandex and t-shirts, but their heeled footwear hearkens back to the 1910s, when the bulk of the show's action takes place.

Over the course of 2 hours and 15 minutes, under-appreciated players in the often-contentious fight for women's suffrage finally get their due. Alice Paul goes head-to-head with President Woodrow Wilson, who withheld his support for suffrage until the 11th hour. Carrie Chapman Catt argues for suffrage campaigns at the state level. Ida B. Wells sings about her devotion to both civil and women's rights.

More...
https://www.npr.org/local/305/2019/11/21/781621478/new-musical-about-suffrage-aims-to-be-hamilton-of-women-s-history

***

New York Times music critic Stephen Holden’s line about Shaina Taub—that she is a gravitational force “around whom others cluster like filings to a magnet”—came powerfully to mind on Monday night inside the Radcliffe Institute’s Knafel Center, where the singer-songwriter (and actor-dancer-musician-dramatist) held the stage for nearly three hours. As part of a celebration for the seventy-fifth anniversary of the Schlesinger Library on the History of Women in America (which is closed now for renovations through Tuesday, November 6), Taub and eight other singers, all women, performed a dozen songs from her musical-in-progress about the American Suffragist movement.

The musical’s working title is “The Suffragists,” and throughout the performance, Taub stood at the center of the group, calling out musical numbers and filling in narrative blanks for the packed audience, as she and the others moved from song to song. Afterward, a panel discussion on the play and its subject turned into an extended Q&A with Taub, as the four academics who’d joined her on stage—scholars of history and music and gender studies—swiveled toward her to ask one excited question after another. Introducing the event, Radcliffe dean Tomiko Brown-Nagin reminded the audience that the women’s suffrage movement seems perhaps especially timely now: “We’re confronted on a daily basis by the reality that various forms of political and social exclusion are still commonplace for many Americans.”

More...
https://www.harvardmagazine.com/2018/10/suffragists-in-song-at-radcliffe

***

Written in 1912, by pro-suffragist Marie Jenney Howe, Someone Must Wash the Dishes is fully costumed, simply staged, and adaptable to almost any space and situation. An optional 20-minute lecture follows the 25-minute performance, putting the Antis and their arguments in the context of their time, and summarizing Howe’s career as a minister and a Progressive catalyst. A gratis talk back concludes the program.

More...
http://www.michelelarue.com/someone-must-wash-the-dishes

***

The New York Times commissioned and produced “Finish the Fight,” a digital play in which the acclaimed playwright Ming Peiffer (“Usual Girls”), the 2020 Obie-winning director Whitney White (“Our Dear Dead Drug Lord,” “What to Send Up When It Goes Down”) and a cast of celebrated actresses bring to theatrical life the biographies of lesser-known activists who helped to win voting rights for women. The play adapts the book “Finish the Fight!: The Brave and Revolutionary Women Who Fought for the Right to Vote,” written by Veronica Chambers, a Times senior editor, and the Times journalists Jennifer Schuessler, Amisha Padnani, Jennifer Harlan, Sandra E. Garcia and Vivian Wang.

More...
https://www.nytimes.com/2020/07/23/theater/finish-the-fight-suffrage-centennial-performance.html

***

Tony and Emmy winner Phylicia Rashad stars in one of three short radio plays during Juneteenth celebration Black Women and The Ballot, premiering June 19 at 7:30 PM ET. The event is presented by American Slave Project and a consortium of NYC and regional Black theatres and allies.
Rashad will star as The Ancestor in Judy Tate’s Pulling the Lever, which follows three inter-generational women as they remember their most important experiences voting; Tate also directs.
Dianne Kirksey Floyd will helm Tate’s second play featured, In the Parlour. The work returns to the eve of the historic 1913 Women’s March for votes through the eyes of a young Howard University student. The third play is Saviana Stanescu’s immigrant-focused Don’t/Dream, directed by Tate again.

The radio plays will be streamed from the American Slavery Project’s website and YouTube. The event will end with a live talkback hosted by ASP.
https://www.americanslaveryproject.org

The evening will examine the relationship between America and Black women voting in this 100th anniversary year of Women's Suffrage, shedding light on African-American women’s contribution to suffrage over multiple decades and the undocumented and disenfranchised Black immigrant women overlooked today.

More...
https://www.playbill.com/article/phylicia-rashad-to-star-in-election-themed-radio-play-pulling-the-lever

***

THE SUFFRAGIST
Alice Paul is a young radical.
Carrie Chapman Catt is a seasoned organizer.
This inspirational and absorbing true story dramatizes their struggles against the government, society, and each other. It is a hard-fought battle with both women moving towards a shared goal: winning the vote.

Book + Lyrics by Cavan Hallman
Music by Nancy Hill Cobb

Coming in the summer of 2021
Gallagher Bluedorn Performing Arts Center
Cedar Falls, IA
July 16 / 17 / 18

More...
http://suffragistmusical.com

--
You received this message because you are subscribed to the Google Groups "NYCPlaywrights" group.
To unsubscribe from this group and stop receiving emails from it, send an email to nycplaywrights_group+unsubscribe@googlegroups.com.
To view this discussion on the web visit https://groups.google.com/d/msgid/nycplaywrights_group/e707d8e5-f032-442e-8cbd-4451ba05d276o%40googlegroups.com.

OUR ASTRONOMICAL DISCOVERIES FROM ANCIENT GREECE



    
The Histories by Herodotus (484BC to 425BC) offers a remarkable window into the world as it was known to the ancient Greeks in the mid-fifth century BC. Almost as interesting as what they knew, however, is what they did not know. This sets the baseline for the remarkable advances in their understanding over the next few centuries – simply relying on what they could observe with their own eyes.
Herodotus claimed that Africa was surrounded almost entirely by sea. How did he know this? He recounts the story of Phoenician sailors who were dispatched by King Neco II of Egypt (about 600BC), to sail around continental Africa, in a clockwise fashion, starting in the Red Sea. This story, if true, recounts the earliest known circumnavigation of Africa, but also contains an interesting insight into the astronomical knowledge of the ancient world.
The voyage took several years. Having rounded the southern tip of Africa, and following a westerly course, the sailors observed the Sun as being on their right-hand side, above the northern horizon. This observation simply did not make sense at the time because they didn’t yet know that the Earth has a spherical shape, and that there is a southern hemisphere.


1. THE PLANETS ORBIT THE SUN
A few centuries later, there had been a lot of progress. Aristarchus of Samos (310BC to 230BC) argued that the Sun was the “central fire” of the cosmos and he placed all of the then-known planets in their correct order of distance around it. This is the earliest known heliocentric theory of the solar system.
Unfortunately, the original text in which he makes this argument has been lost to history, so we cannot know for certain how he worked it out. Aristarchus knew the Sun was much bigger than the Earth or the Moon, and he may have surmised that it should therefore have the central position in the solar system.
Nevertheless it is a jawdropping finding, especially when you consider that it wasn’t rediscovered until the 16th century, by Nicolaus Copernicus, who even acknowledged Aristarchus during the development of his own work.



2. THE SIZE OF THE MOON


One of Aristarchus’ books that did survive is about the sizes and distances of the Sun and Moon. In this remarkable treatise, Aristarchus laid out the earliest known attempted calculations of the relative sizes and distances to the Sun and Moon.
It had long been observed that the Sun and Moon appeared to be of the same apparent size in the sky, and that the Sun was further away. They realised this from solar eclipses, caused by the Moon passing in front of the Sun at a certain distance from Earth.
Also, at the instant when the Moon is at first or third quarter, Aristarchus reasoned that the Sun, Earth, and Moon would form a right-angled triangle.
As Pythagoras had determined how the lengths of triangle’s sides were related a couple of centuries earlier, Aristarchus used the triangle to estimate that the distance to the Sun was between 18 and 20 times the distance to the Moon. He also estimated that the size of the Moon was approximately one-third that of Earth, based on careful timing of lunar eclipses.
A 10th century reproduction of a diagram by Aristarchus showing some of the geometry he used in his calculations. Credit: Wikipedia, CC BY-SA
While his estimated distance to the Sun was too low (the actual ratio is 390), on account of the lack of telescopic precision available at the time, the value for the ratio of the size of the Earth to the Moon is surprisingly accurate (the Moon has a diameter 0.27 times that of Earth).
Today, we know the size and distance to the moon accurately by a variety of means, including precise telescopes, radar observations and laser reflectors left on the surface by Apollo astronauts.

3. THE EARTH’S CIRCUMFERENCE
Eratosthenes (276BC to 195 BC) was chief librarian at the Great Library of Alexandria, and a keen experimentalist. Among his many achievements was the earliest known calculation of the circumference of the Earth. Pythagoras is generally regarded as the earliest proponent of a spherical Earth, although apparently not its size. Eratosthenes’ famous and yet simple method relied on measuring the different lengths of shadows cast by poles stuck vertically into the ground, at midday on the summer solstice, at different latitudes.
The Sun is sufficiently far away that, wherever its rays arrive at Earth, they are effectively parallel, as had previously been shown by Aristarchus. So the difference in the shadows demonstrated how much the Earth’s surface curved. Eratosthenes used this to estimate the Earth’s circumference as approximately 40,000km. This is within a couple of percent of the actual value, as established by modern geodesy (the science of the Earth’s shape).
Later, another scientist called Posidonius (135BC to 51BC) used a slightly different method and arrived at almost exactly the same answer. Posidonius lived on the island of Rhodes for much of his life. There he observed the bright star Canopus would lie very close to the horizon. However, when in Alexandria, in Egypt, he noted Canopus would ascend to some 7.5 degrees above the horizon.
Given that 7.5 degrees is 1/48th of a circle, he multiplied the distance from Rhodes to Alexandria by 48, and arrived at a value also of approximately 40,000km.

4. THE FIRST ASTRONOMICAL CALCULATOR
The world’s oldest surviving mechanical calculator is the Antikythera Mechanism. The amazing device was discovered in an ancient shipwreck off the Greek island of Antikythera in 1900.
The device is now fragmented by the passage of time, but when intact it would have appeared as a box housing dozens of finely machined bronze gear wheels. When manually rotated by a handle, the gears span dials on the exterior showing the phases of the Moon, the timing of lunar eclipses, and the positions of the five planets then known (Mercury, Venus, Mars, Jupiter, and Saturn) at different times of the year. This even accounted for their retrograde motion – an illusionary change in the movement of planets through the sky.
We don’t know who built it, but it dates to some time between the 3rd and 1st centuries BC, and may even have been the work of Archimedes. Gearing technology with the sophistication of the Antikythera mechanism was not seen again for a thousand years.
Sadly, the vast majority of these works were lost to history and our scientific awakening was delayed by millennia. As a tool for introducing scientific measurement, the techniques of Eratosthenes are relatively easy to perform and require no special equipment, allowing those just beginning their interest in science to understand by doing, experimenting and, ultimately, following in the foot steps some of the first scientists.
One can but speculate where our civilisation might be now if this ancient science had continued unabated.




Morgue Ship By RAY BRADBURY




This was Burnett's last trip. Three more shelves to fill with space-slain warriors—and
he would be among the living again.


He heard the star-port grind open, and the movement of the metal claws groping into space, and then the star-port closed.

There was another dead man aboard the Constellation.

Sam Burnett shook his long head, trying to think clearly. Pallid and quiet, three bodies lay on the cold transparent tables around him; machines stirred, revolved, hummed. He didn't see them. He didn't see anything but a red haze over his mind. It blotted out the far wall of the laboratory where the shelves went up and down, numbered in scarlet, keeping the bodies of soldiers from all further harm.

Burnett didn't move. He stood there in his rumpled white surgical gown, staring at his fingers gloved in bone-white rubber; feeling all tight and wild inside himself. It went on for days. Moving the ship. Opening the star-port. Extending the retriever claw. Plucking some poor warrior's body out of the void.

He didn't like it any more. Ten years is too long to go back and forth from Earth to nowhere. You came out empty and you went back full-cargoed with a lot of warriors who didn't laugh or talk or smoke, who just lay on their shelves, all one hundred of them, waiting for a decent burial.

"Number ninety-eight." Coming matter of fact and slow, Rice's voice from the ceiling radio hit Burnett.

"Number ninety-eight," Burnett repeated. "Working on ninety-five, ninety-six and ninety-seven now. Blood-pumps, preservative, slight surgery." Off a million miles away his voice was talking. It sounded deep. It didn't belong to him anymore.

Rice said:

"Boyohbody! Two more pick-ups and back to New York. Me for a ten-day drunk!"

Burnett peeled the gloves off his huge, red, soft hands, slapped them into a floor incinerator mouth. Back to Earth. Then spin around and shoot right out again in the trail of the war-rockets that blasted one another in galactic fury, to sidle up behind gutted wrecks of ships, salvaging any bodies still intact after the conflict.

Two men. Rice and himself. Sharing a cozy morgue ship with a hundred other men who had forgotten, quite suddenly, however, to talk again.

Ten years of it. Every hour of those ten years eating like maggots inside, working out to the surface of Burnett's face, working under the husk of his starved eyes and starved limbs. Starved for life. Starved for action.

This would be his last trip, or he'd know the reason why!

"Sam!"

Burnett jerked. Rice's voice clipped through the drainage-preservative lab, bounded against glassite retorts, echoed from the refrigerator shelves. Burnett stared at the tabled bodies as if they would leap to life, even while preservative was being pumped into their veins.

"Sam! On the double! Up the rungs!"

Burnett closed his eyes and said a couple of words, firmly. Nothing was worth running for any more. Another body. There had been one hundred thousand bodies preceding it. Nothing unusual about a body with blood cooling in it.

Shaking his head, he walked unsteadily toward the rungs that gleamed up into the air-lock, control-room sector of the rocket. He climbed without making any noise on the rungs.

He kept thinking the one thing he couldn't forget.

You never catch up with the war.

All the color is ahead of you. The drive of orange rocket traces across stars, the whamming of steel-nosed bombs into elusive targets, the titanic explosions and breathless pursuits, the flags and the excited glory are always a million miles ahead.

He bit his teeth together.

You never catch up with the war.

You come along when space has settled back, when the vacuum has stopped trembling from unleashed forces between worlds. You come along in the dark quiet of death to find the wreckage plunging with all the fury of its original acceleration in no particular direction. You can only see it; you don't hear anything in space but your own heart kicking your ribs.

You see bodies, each in its own terrific orbit, given impetus by grinding collisions, tossed from mother ships and dancing head over feet forever and forever with no goal. Bits of flesh in ruptured space suits, mouths open for air that had never been there in a hundred billion centuries. And they kept dancing without music until you extended the retriever-claw and culled them into the air-lock.

That was all the war-glory he got. Nothing but the stunned, shivering silence, the memory of rockets long gone, and the shelves filling up all too quickly with men who had once loved laughing.

You wondered who all the men were; and who the next ones would be. After ten years you made yourself blind to them. You went around doing your job with mechanical hands.

But even a machine breaks down....

"Sam!" Rice turned swiftly as Burnett dragged himself up the ladder. Red and warm, Rice's face hovered over the body of a sprawled enemy official. "Take a look at this!"

Burnett caught his breath. His eyes narrowed. There was something wrong with the body; his experienced glance knew that. He didn't know what it was.

Maybe it was because the body looked a little too dead.

Burnett didn't say anything, but he climbed the rest of the way, stood quietly in the grey-metal air-lock. The enemy official was as delicately made as a fine white spider. Eyelids, closed, were faintly blue. The hair was thin silken strands of pale gold, waved and pressed close to a veined skull. Where the thin-lipped mouth fell open a cluster of needle-tipped teeth glittered. The fragile body was enclosed completely in milk-pale syntha-silk, a holstered gun at the middle.

Burnett rubbed his jaw. "Well?"

Rice exploded. His eyes were hot in his young, sharp-cut face, hot and black. "Good Lord, Sam, do you know who this is?"

Burnett scowled uneasily and said no.

"It's Lethla!" Rice retorted.

Burnett said, "Lethla?" And then: "Oh, yes! Kriere's majordomo. That right?"

"Don't say it calm, Sam. Say it big. Say it big! If Lethla is here in space, then Kriere's not far away from him!"

Burnett shrugged. More bodies, more people, more war. What the hell. What the hell. He was tired. Talk about bodies and rulers to someone else.

Rice grabbed him by the shoulders. "Snap out of it, Sam. Think! Kriere—The All-Mighty—in our territory. His right hand man dead. That means Kriere was in an accident, too!"

Sam opened his thin lips and the words fell out all by themselves. "Look, Rice, you're new at this game. I've been at it ever since the Venus-Earth mess started. It's been see-sawing back and forth since the day you played hookey in the tenth grade, and I've been in the thick of it. When there's nothing left but seared memories, I'll be prowling through the void picking up warriors and taking them back to the good green Earth. Grisly, yes, but it's routine.

"As for Kriere—if he's anywhere around, he's smart. Every precaution is taken to protect that one."

"But Lethla! His body must mean something!"

"And if it does? Have we got guns aboard this morgue-ship? Are we a battle-cuiser to go against him?"

"We'll radio for help?"

"Yeah? If there's a warship within our radio range, seven hundred thousand miles, we'll get it. Unfortunately, the tide of battle has swept out past Earth in a new war concerning Io. That's out, Rice."

Rice stood about three inches below Sam Burnett's six-foot-one. Jaw hard and determined, he stared at Sam, a funny light in his eyes. His fingers twitched all by themselves at his sides. His mouth twisted, "You're one hell of a patriot, Sam Burnett!"

Burnett reached out with one long finger, tapped it quietly on Rice's barrel-chest. "Haul a cargo of corpses for three thousand nights and days and see how patriotic you feel. All those fine muscled lads bloated and crushed by space pressures and heat-blasts. Fine lads who start out smiling and get the smile burned off down to the bone—"

Burnett swallowed and didn't say anything more, but he closed his eyes. He stood there, smelling the death-odor in the hot air of the ship, hearing the chug-chug-chug of the blood pumps down below, and his own heart waiting warm and heavy at the base of his throat.

"This is my last cargo, Rice. I can't take it any longer. And I don't care much how I go back to earth. This Venusian here—what's his name? Lethla. He's number ninety-eight. Shove me into shelf ninety-nine beside him and get the hell home. That's how I feel!"

Rice was going to say something, but he didn't have time.

Lethla was alive.

He rose from the floor with slow, easy movements, almost like a dream. He didn't say anything. The heat-blast in his white fingers did all the necessary talking. It didn't say anything either, but Burnett knew what language it would use if it had to.

Burnett swallowed hard. The body had looked funny. Too dead. Now he knew why. Involuntarily, Burnett moved forward. Lethla moved like a pale spider, flicking his fragile arm to cover Burnett, the gun in it like a dead cold star.

Rice sucked in his breath. Burnett forced himself to take it easy. From the corners of his eyes he saw Rice's expression go deep and tight, biting lines into his sharp face.

Rice got it out, finally. "How'd you do it?" he demanded, bitterly. "How'd you live in the void? It's impossible!"

A crazy thought came ramming down and exploded in Burnett's head. You never catch up with the war!

But what if the war catches up with you?

What in hell would Lethla be wanting aboard a morgue ship?

Lethla half-crouched in the midst of the smell of death and the chugging of blood-pumps below. In the silence he reached up with quick fingers, tapped a tiny crystal stud upon the back of his head, and the halves of a microscopically thin chrysalis parted transparently off of his face. He shucked it off, trailing air-tendrils that had been inserted, hidden in the uniform, ending in thin globules of oxygen.

He spoke. Triumph warmed his crystal-thin voice. "That's how I did it, Earthman."

"Glassite!" said Rice. "A face-moulded mask of glassite!"

Lethla nodded. His milk-blue eyes dilated. "Very marvelously pared to an unbreakable thickness of one-thirtieth of an inch; worn only on the head. You have to look quickly to notice it, and, unfortunately, viewed as you saw it, outside the ship, floating in the void, not discernible at all."

Prickles of sweat appeared on Rice's face. He swore at the Venusian and the Venusian laughed like some sort of stringed instrument, high and quick.

Burnett laughed, too. Ironically. "First time in years a man ever came aboard the Constellation alive. It's a welcome change."

Lethla showed his needle-like teeth. "I thought it might be. Where's your radio?"

"Go find it!" snapped Rice, hotly.

"I will." One hand, blue-veined, on the ladder-rungs, Lethla paused. "I know you're weaponless; Purple Cross regulations. And this air-lock is safe. Don't move." Whispering, his naked feet padded white up the ladder. Two long breaths later something crashed; metal and glass and coils. The radio.

Burnett put his shoulder blades against the wall-metal, looking at his feet. When he glanced up, Rice's fresh, animated face was spoiled by the new bitterness in it.

Lethla came down. Like a breath of air on the rungs.

He smiled. "That's better. Now. We can talk—"

Rice said it, slow:

"Interplanetary law declares it straight, Lethla! Get out! Only dead men belong here."

Lethla's gun grip tightened. "More talk of that nature, and only dead men there will be." He blinked. "But first—we must rescue Kriere...."

"Kriere!" Rice acted as if he had been hit in the jaw.

Burnett moved his tongue back and forth on his lips silently, his eyes lidded, listening to the two of them as if they were a radio drama. Lethla's voice came next:

"Rather unfortunately, yes. He's still alive, heading toward Venus at an orbital velocity of two thousand m.p.h., wearing one of these air-chrysali. Enough air for two more hours. Our flag ship was attacked unexpectedly yesterday near Mars. We were forced to take to the life-boats, scattering, Kriere and I in one, the others sacrificing their lives to cover our escape. We were lucky. We got through the Earth cordon unseen. But luck can't last forever.

"We saw your morgue ship an hour ago. It's a long, long way to Venus. We were running out of fuel, food, water. Radio was broken. Capture was certain. You were coming our way; we took the chance. We set a small time-bomb to destroy the life-rocket, and cast off, wearing our chrysali-helmets. It was the first time we had ever tried using them to trick anyone. We knew you wouldn't know we were alive until it was too late and we controlled your ship. We knew you picked up all bodies for brief exams, returning alien corpses to space later."

Rice's voice was sullen. "A set-up for you, huh? Traveling under the protection of the Purple Cross you can get your damned All-Mighty safe to Venus."

Lethla bowed slightly. "Who would suspect a Morgue Rocket of providing safe hiding for precious Venusian cargo?"

"Precious is the word for you, brother!" said Rice.

"Enough!" Lethla moved his gun several inches.

"Accelerate toward Venus, mote-detectors wide open. Kriere must be picked up—now!"

Rice didn't move. Burnett moved first, feeling alive for the first time in years. "Sure," said Sam, smiling. "We'll pick him up."

"No tricks," said Lethla.

Burnett scowled and smiled together. "No tricks. You'll have Kriere on board the Constellation in half an hour or I'm no coroner."

"Follow me up the ladder."

Lethla danced up, turned, waved his gun. "Come on."

Burnett went up, quick. Almost as if he enjoyed doing Lethla a favor. Rice grumbled and cursed after him.

On the way up, Burnett thought about it. About Lethla poised like a white feather at the top, holding death in his hand. You never knew whose body would come in through the star-port next. Number ninety-eight was Lethla. Number ninety-nine would be Kriere.

There were two shelves numbered and empty. They should be filled. And what more proper than that Kriere and Lethla should fill them? But, he chewed his lip, that would need a bit of doing. And even then the cargo wouldn't be full. Still one more body to get; one hundred. And you never knew who it would be.

He came out of the quick thoughts when he looped his long leg over the hole-rim, stepped up, faced Lethla in a cramped control room that was one glittering swirl of silver levers, audio-plates and visuals. Chronometers, clicking, told of the steady dropping toward the sun at a slow pace.

Burnett set his teeth together, bone against bone. Help Kriere escape? See him safely to Venus, and then be freed? Sounded easy, wouldn't be hard. Venusians weren't blind with malice. Rice and he could come out alive; if they cooperated.

But there were a lot of warriors sleeping on a lot of numbered shelves in the dim corridors of the long years. And their dead lips were stirring to life in Burnett's ears. Not so easily could they be ignored.

You may never catch up with the war again.

The last trip!

Yes, this could be it. Capture Kriere and end the war. But what ridiculous fantasy was it made him believe he could actually do it?

Two muscles moved on Burnett, one in each long cheek. The sag in his body vanished as he tautened his spine, flexed his lean-sinewed arms, wet thin lips.

"Now, where do you want this crate?" he asked Lethla easily.

Lethla exhaled softly. "Cooperation. I like it. You're wise, Earthman."

"Very," said Burnett.

He was thinking about three thousand eternal nights of young bodies being ripped, slaughtered, flung to the vacuum tides. Ten years of hating a job and hoping that some day there would be a last trip and it would all be over.

Burnett laughed through his nose. Controls moved under his fingers like fluid; loved, caressed, tended by his familiar touching. Looking ahead, he squinted.

"There's your Ruler now, Lethla. Doing somersaults. Looks dead. A good trick."

"Cut power! We don't want to burn him!"

Burnett cut. Kriere's milky face floated dreamily into a visual-screen, eyes sealed, lips gaping, hands sagging, clutching emptily at the stars.

"We're about fifty miles from him, catching up." Burnett turned to Lethla with an intent scowl. Funny. This was the first and the last time anybody would ever board the Constellation alive. His stomach went flat, tautened with sudden weakening fear.

If Kriere could be captured, that meant the end of the war, the end of shelves stacked with sleeping warriors, the end of this blind searching. Kriere, then, had to be taken aboard. After that—

Kriere, the All-Mighty. At whose behest all space had quivered like a smitten gong for part of a century. Kriere, revolving in his neat, water-blue uniform, emblems shining gold, heat-gun tucked in glossy jet holster. With Kriere aboard, chances of overcoming him would be eliminated. Now: Rice and Burnett against Lethla. Lethla favored because of his gun.

Kriere would make odds impossible.

Something had to be done before Kriere came in.

Lethla had to be yanked off guard. Shocked, bewildered, fooled—somehow. But—how?

Burnett's jaw froze tight. He could feel a spot on his shoulder-blade where Lethla would send a bullet crashing into rib, sinew, artery—heart.

There was a way. And there was a weapon. And the war would be over and this would be the last trip.

Sweat covered his palms in a nervous smear.

"Steady, Rice," he said, matter of factly. With the rockets cut, there was too much silence, and his voice sounded guilty standing up alone in the center of that silence. "Take controls, Rice. I'll manipulate the star-port."

Burnett slipped from the control console. Rice replaced him grimly. Burnett strode to the next console of levers. That spot on his back kept aching like it was sear-branded X. For the place where the bullet sings and rips. And if you turn quick, catching it in the arm first, why—

Kriere loomed bigger, a white spider delicately dancing on a web of stars. His eyes flicked open behind the glassite sheath, and saw the Constellation. Kriere smiled. His hands came up. He knew he was about to be rescued.

Burnett smiled right back at him. What Kriere didn't know was that he was about to end a ten-years' war.

There was only one way of drawing Lethla off guard, and it had to be fast.

Burnett jabbed a purple-topped stud. The star-port clashed open as it had done a thousand times before; but for the first time it was a good sound. And out of the star-port, at Sam Burnett's easily fingered directions, slid the long claw-like mechanism that picked up bodies from space.

Lethla watched, intent and cold and quiet. The gun was cold and quiet, too.

The claw glided toward Kriere without a sound, now, dream-like in its slowness.

It reached Kriere.

Burnett inhaled a deep breath.

The metal claw cuddled Kriere in its shiny palm.


Lethla watched.

He watched while Burnett exhaled, touched another lever and said: "You know, Lethla, there's an old saying that only dead men come aboard the Constellation. I believe it."

And the claw closed as Burnett spoke, closed slowly and certainly, all around Kriere, crushing him into a ridiculous posture of silence. There was blood running on the claw, and the only recognizable part was the head, which was carefully preserved for identification.

That was the only way to draw Lethla off guard.

Burnett spun about and leaped.

The horror on Lethla's face didn't go away as he fired his gun.

Rice came in fighting, too, but not before something like a red-hot ramrod stabbed Sam Burnett, catching him in the ribs, spinning him back like a drunken idiot to fall in a corner.

Fists made blunt flesh noises. Lethla went down, weaponless and screaming. Rice kicked. After awhile Lethla quit screaming, and the room swam around in Burnett's eyes, and he closed them tight and started laughing.

He didn't finish laughing for maybe ten minutes. He heard the retriever claws come inside, and the star-port grind shut.

Out of the red darkness, Rice's voice came and then he could see Rice's young face over him. Burnett groaned.

Rice said, "Sam, you shouldn't have done it. You shouldn't have, Sam."

"To hell with it." Burnett winced, and fought to keep his eyes open. Something wet and sticky covered his chest. "I said this was my last trip and I meant it. One way or the other, I'd have quit!"

"This is the hard way—"

"Maybe. I dunno. Kind of nice to think of all those kids who'll never have to come aboard the Constellation, though, Rice." His voice trailed off. "You watch the shelves fill up and you never know who'll be next. Who'd have thought, four days ago—"

Something happened to his tongue so it felt like hard ice blocking his mouth. He had a lot more words to say, but only time to get a few of them out:

"Rice?"

"Yeah, Sam?"

"We haven't got a full cargo, boy."

"Full enough for me, sir."

"But still not full. If we went back to Center Base without filling the shelves, it wouldn't be right. Look there—number ninety-eight is Lethla—number ninety-nine is Kriere. Three thousand days of rolling this rocket, and not once come back without a bunch of the kids who want to sleep easy on the good green earth. Not right to be going back any way—but—the way—we used to—"

His voice got all full of fog. As thick as the fists of a dozen warriors. Rice was going away from him. Rice was standing still, and Burnett was lying down, not moving, but somehow Rice was going away a million miles.

"Ain't I one hell of a patriot, Rice?"

Then everything got dark except Rice's face. And that was starting to dissolve.

Ninety-eight: Lethla. Ninety-nine: Kriere.

He could still see Rice standing over him for a long time, breathing out and in. Down under the tables the blood-pumps pulsed and pulsed, thick and slow. Rice looked down at Burnett and then at the empty shelf at the far end of the room, and then back at Burnett again.

And then he said softly:

"One hundred."