The Project Gutenberg EBook of A Cold Night for Crying, by Milton Lesser
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: A Cold Night for Crying
Author: Milton Lesser
Release Date: January 30, 2019 [EBook #58790]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK A COLD NIGHT FOR CRYING ***
Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at http://www.pgdp.net
A Cold Night for Crying
BY MILTON LESSER
_It's much easier to believe than
disbelieve, whether it's a truth or
an untruth, when you have to. And
when the brain and body are weak ..._
[Transcriber's Note: This etext was produced from
Worlds of If Science Fiction, December 1954.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
The snow sifted silently down, clouds of white confetti in the glare of
the street lamps, mantling the streets with white, spilling softly from
laden, wind-stirred branches, drifting with the wind and embanking the
scars and stumps of buildings that remained of what had been the city.
Mr. Friedlander trudged across the wide, quiet avenues, his bare,
balding head burrowed low in his tattered collar for warmth, chin
against chest, wet feet numb and stinging with cold inside his torn
overshoes which could not be replaced until next winter, and then only
if the Karadi did not decrease the clothing ration still further.
All the way home, he conjured fantasies from the white, multi-shaped
exhalations of his breath. Here it was the smoke of a good
Havana-rolled cigar and there the warm hissing steam from a radiator
valve and later the magic-carpet clouds from the funnel of an ocean
liner that might take him to far, warm places the Karadi had not
reached. Almost, he thought he heard the great sonorous drone of the
ship's whistle, but it was the toot of an automobile horn as the
sleek vehicle came skidding around a corner, almost running down Mr.
Friedlander before it disappeared in the swirling flurries of snow. He
thought if he followed the tire tracks before the snow could cover them
he would discover in which section of the city these particular Karadi
lived, but he shook his fist instead, knowing the gesture would bring,
at worst, a reprimand.
In the dim hallway of his tenement, smelling pungently of cabbage and
turnips--and from somewhere way in back the faint, unmistakable aroma
of beef--Mr. Friedlander shook the snow from his coat and stamped his
numb feet before he climbed the three dark flights to his apartment. At
each landing he would pause and look with longing and resentment at the
door of the unused elevator shaft, then shrug and wonder why the Karadi
had denied man even this simple luxury.
On the floor below his own, Mr. Friedlander heard the unmistakable
crackling sound of a short-wave radio receiver. The fools! He wasn't
going to talk, he lost no love on the Karadi. But there were others.
There were neighbors, friends, brothers, even wives, there were the
obvious quislings you shunned and the less obvious ones you didn't
suspect until it was too late. One thing you never did was listen
to the short-wave radio so defiantly its crackling could be heard
not merely on the other side of the door but all the way out on the
landing. The punishment was death.
Mr. Friedlander paused in front of his own door, where the odor of
strong yellow turnips assailed his nostrils. It was so unsatisfyingly
familiar, he almost gagged. The new generation hardly remembered the
delightful old foods, but if Mr. Friedlander shut his eyes and thought,
he could clearly smell steak and roast chicken and broiled lobster
swimming in butter and a dry red wine to wash everything down slowly,
so slowly he could taste every tiny morsel.
He pushed open the door and began to shrug off his worn coat. "I'm
home," he said to the scabby walls, the gas range which had been
converted to wood when the Karadi suspended all public utilities, to
the bubbling pot which exuded the turnip smell, to the drab sofa, the
two wooden chairs, the table he had constructed from two old saw horses
and the planking he had found long ago after the Fourteenth Street Bomb.
From the small bedroom, he heard sobbing.
* * * * *
Mrs. Friedlander blinked red-rimmed eyes at him and squeezed his hand,
wringing it as if it had been a wet rag. She was forty-four years old,
six years younger than Mr. Friedlander, with a face which once had been
comely but now was lined, gaunt and big-pored. She was even thinner
than Mr. Friedlander, but looked shapeless in her thick woolen sweater
and the baggy work trousers he had stolen from the quartermaster store
of the plant where he worked.
"Try to tell me, Martha," he said. "It's good to talk."
She looked at him mutely, opening her mouth to talk but swallowing
instead.
"You tell me, Martha. There now."
She managed to get the words out. "It's Freddie."
Mr. Friedlander placed a tired arm about her shoulder. The feeling had
started in the pit of his stomach, like when their son George had died
of pneumonia two years ago this month. The Karadi had outlawed all
wonder drugs, all hospitals, all medical schools. Helpless, they had
watched George die, his big child eyes not understanding, asking for
help. Mr. Friedlander always wondered if he had died hating them.
"People die and you see them. You know," Mrs. Friedlander said. "They
are sick and you can't do anything but try to nurse them, anyway. Or
the big Karadi cars run them down and you see the broken body. You see
them. Alive. Then dead. It's hard, so hard you want to stop living
too, but there's God and God shows you they are dead and you have the
memories, all the sweet ones. You know they're dead because you see
them dying. You can forget. In time, you forget. You have to forget
because otherwise you don't want to live, but you ... hold me. Hold me
tight."
Mr. Friedlander patted her hair awkwardly. The Karadi not only condoned
but encouraged displays of simple emotion and for that reason Mr.
Friedlander tried to avoid them. "What are you trying to tell me?" he
asked.
"Freddie. Freddie. His plane was shot down over the mountains, they
told me. Freddie is dead. Freddie."
Mr. Friedlander stopped patting his wife's hair, stopped stroking the
tangles into a smooth glossiness. He bent down and carefully unbuckled
his torn overshoes, placing them carefully in a corner of the room.
Then he walked to the window and stared out at the snow sparkling in
wind-blown puffs under the street lamp which remained only because the
Karadi liked to drive their confiscated autos at night. "What are you
saying?" he asked his wife.
"Just because they tell us Freddie is dead--"
"Stop it. Don't say that."
"Freddie is dead. Because they tell us, that's no reason to believe.
How can we believe? We saw Freddie alive, but now they tell us Freddie
is dead. Far away, two thousand miles. Over the mountains. Did we see
him die? He's dead. Oh, he's dead. But we'll never learn to live with
it. Don't you see? How can we believe? How can we know? We saw him
alive. Now he's dead."
Freddie was flying a Karadi plane against the last strongholds of free
man in the Rocky Mountains. Not because Freddie had wanted to pilot
the dart-swift craft particularly, but because they had made him. The
Karadi announced their own human losses readily, almost as if they took
great pleasure in the impressive figures. "They told you this?" Mr.
Friedlander asked.
"That Freddie's plane was shot down. That he is assumed dead."
"You saw nothing in writing?"
"They sent a man."
"You knew him?"
"No. He wore good clothing. He drove up in a sleek Karadi car."
"Quisling."
"Freddie died a hero's death, he said. Against the rebels."
"Rebels? Trying to preserve their own freedom? Freedom which we lost
because the bombed cities couldn't survive?"
"I only know what the man told me, but how can we ... how ... all my
life, always, forever, I will be praying and waiting for Freddie to
walk in, right behind you, through that door. We never saw him die.
They should at least send something. Some proof. Anything to make me
understand he is dead."
Mr. Friedlander had been thinking the same thing. If you loved someone,
your son, all his life and then a stranger came and said he was dead
you could forget the stranger came and go on thinking of that someone,
your son, alive and not dead, but too busy to come and see you, eating
the food you could only dream about, sleeping in a warm bed, in some
clean place far away. Only it was like the cat he once had read about.
You took the cat and gave it food, catnip, but every time it ate you
also fed it electricity, a shock. It wanted to eat but it was afraid of
the electricity, the shock. It starved to death screeching from hunger
in a room full of food. If that was what the Karadi wanted, he would
say Freddie was dead. He would believe and laugh every time he saw them
because they thought he was screeching from hunger in a room full of
food.
"Stop it," Mr. Friedlander told his wife. "You stop that. If they say
so, then Freddie is dead. We must put an announcement in the Karadi
newspaper and make plans for a funeral."
"In all this snow? It's so cold."
"Anyway."
Mrs. Friedlander walked to the stove and stirred the bubbling turnip
water. "You come and eat your supper," she said. "We'll talk about
Freddie later."
"There's nothing to talk about. Only the funeral."
"Maybe he was lying. The stranger."
"Stop that. It's what they want. They want us to be animals. They
want us never to know. Always doubting. Always clean in dirty places,
working hard, using all our energy to be only a little better than
animals. Every time you see a Karadi, you won't hate him. You'll think
maybe he's going to tell you some good news about Freddie. It was all a
mistake. They want that, too. They feed on our sorrow and despair and
confusion. There is a word for them and their invasion and why they are
here. They don't need us, our resources. They feed on what we feel.
They are a--a sadistic fungi."
"Fred! Eat your supper and you'll feel better. You must be half frozen."
"It's warmer in here."
Mrs. Friedlander shivered, although she stood near the stove. "It's
still cold. I hope it's warm where Freddie is."
He slapped her and was glad when she cried, then sorry, then glad
again when she came into his arms, sobbing. They would make funeral
arrangements in the morning.
After supper a man from the Karadi newspaper visited them. He wore
a new overcoat and shining plastic overshoes and a bright scarf of
red wool around his neck. His face was plump, his cheeks rosy, his
well-groomed hair smelling of some expensive perfume when he removed
hat and earlaps.
"Mr. and Mrs. Friedlander," he said, his voice like the dimly
remembered taste of pure maple syrup, "I bring you the heartfelt
sympathies of the Karadi Newspaper. If it is any consolation, know
that your son, Freddie Friedlander, Jr., died a hero's death against
the barbarians of the mountains." His nose was running with the cold;
he padded it daintily with a pale blue silk handkerchief. He offered
Mr. Friedlander a small, dry-crackling cigar, took one himself and
touched flame to them with a monogramed lighter. Mr. Friedlander
inhaled gratefully, allowing the unfamiliar smoke to sear his lungs
painfully before he exhaled a long blue plume at the ceiling. For Mrs.
Friedlander the man from the Karadi Newspaper had a small box of candy,
the chocolate frozen over with powdery white but, by the expression on
Mrs. Friedlander's face, succulent nevertheless.
"At times like this," the man from the Karadi Newspaper said after he
had politely refused what was left of the yellow turnip mash, "it is
customary to place an ad in the newspaper in memory of the departed.
The cost, in such cases, is quite reasonable--benevolent, you might
say. Seven days of overtime for Mr. Friedlander."
"But," said Mrs. Friedlander, "if we place the announcement in the
Karadi Newspaper, don't you see? We are admitting Freddie is dead."
The man from the Karadi Newspaper cocked an eyebrow in practiced
surprise. "He is quite dead, Mrs. Friedlander."
"What my wife means is that, well, we didn't see him die."
"Then you don't believe the Karadi?"
"That's not it at all," said Mr. Friedlander. "If Freddie is dead, it
is unhealthy not to believe. We want to believe. We find it difficult."
"I understand," the man said. "I would suggest a large ad in that
case. Two weeks overtime, Mr. Friedlander. Write it yourself. Don't use
any of the forms. Write it from your heart, from what you feel deep
inside."
"I suppose that is best," Mr. Friedlander admitted, secretly amazed
at his own objective reaction to his son's passing. The sorrow would
come later, he told himself. The grief, when it came, would be good. It
would wash them clean so they could live again. Even at the funeral.
He guessed, they would walk slowly with measured tread and be sad, but
they would expect Freddie to join them in their sadness, as if it were
a funeral but not his funeral at all. Mr. Friedlander was about to tell
this to the man from the Karadi Newspaper because he thought it was a
great truth and he had discovered it, when there was a knock on the
door.
It was Mr. Davidson from downstairs on the second floor, a small old
man, just bones and clothing and a high voice, who lived alone in the
apartment where his wife had died four years before of old age. It
was said the Karadi wanted old men like Mr. Davidson to go on living
because they were unproductive and had to be cared for by younger
people who could hardly make ends meet, thus lowering the standard of
living. Everyone in the tenament took turns inviting Mr. Davidson in
for dinner.
"Beautiful snow, isn't it?" Mr. Davidson demanded, puckering his dry
lips in a toothless grin. "Have you heard about Freddie? Have you heard
the news?"
He seemed spitefully cheerful, Mr. Friedlander thought. Happy because
he had outlived a man two generations his junior? If, indeed, it was
such a case of sadistic glee--so like the Karadi themselves--Mr.
Friedlander made a mental note to stop inviting the old man to share
their dinner.
"Yes, sir, great news," chirped Mr. Davidson. Then: "Who's your friend?"
"He's from the Karadi Newspaper," Mrs. Friedlander explained. "Here to
see about placing an announcement in the paper."
"Damned quisling," spat Mr. Davidson. The old folks certainly had
privileges. That remark would mean a month of overtime for Mr.
Friedlander, who turned earthenware kitchen pots on an archaic wheel.
All it earned Mr. Davidson was a scowl from the man from the Karadi
Newspaper.
"What great news are you talking about?" the man wanted to know.
"Great news? Who said anything about great news? Why don't you mind
your own business, anyway?"
"You said it, old man. Great news, you said. I want to know."
"Maybe I did and maybe I didn't."
"You did."
"Don't always remember. Just what were we talking about? Freddie
Friedlander, wasn't it?"
"Yes."
"Like I said, great news. We all don't get to die a hero's death. No,
sir. Lookit me, now. Die in bed one of these nights, just like that."
Claw-like fingers snapped and made a singularly dry sound. "Who'll
care? Who'll know until I don't show up for dinner one night? Great
news. Great thing to die a hero's death, I always say."
The man from the Karadi Newspaper smiled. "I certainly misunderstood
you, old timer. I like your attitude. If the boy is dead, let's look at
the bright side of the picture."
All at once, Mrs. Friedlander wailed Freddie's name and cupped her face
in coarse, work-hardened hands. "Freddie's dead," she sobbed. "Dead,
dead, dead...."
Mr. Friedlander gulped and turned away. If he touched her now he would
break down too. He plopped a fork in the turnip mash and made little
tracks with the tines, criss-crossing them like the tracks in the
deserted railroad yards down by the river.
"You see," the man from the Karadi Newspaper said, "that's exactly what
I said. The announcement is good for you. Let other people know about
Freddie and you'll be able to live with your terrible loss. This man
has been very helpful."
"Please," Mr. Friedlander told him. "Not now."
"But now is exactly the time." The man explored through his pockets and
found an announcement blank for Mr. Friedlander, a stiff yellow sheet
of paper folded over crisply three times, with words printed in upper
case letters and many blank lines to be filled in. Mr. Friedlander
read it, handed it back to the man from the Karadi Newspaper, who then
asked questions and filled in the blanks with a precise hand as Mr.
Friedlander answered him.
The man stood up, giving Mr. Friedlander another small cigar and
giving two of them to Mr. Davidson. "Karadi blessings on you," he said.
"You'll be notified at work about your overtime, Mr. Friedlander."
"When will we see it in the newspaper?"
"Tomorrow. Afternoon edition. Karadi blessings."
The man was gone.
* * * * *
"There," said Mr. Friedlander. "Go ahead and cry. It will do you good.
Cry all you want."
"Young jackass," muttered Mr. Davidson. "Thought he'd never leave. And
don't you cry, young lady. Laugh. Sing. Jump for joy. I couldn't tell
you the great news about Freddie while that man was here."
"We heard about Freddie," Mr. Friedlander said in a chill voice. "Will
you please go downstairs?"
"You heard baloney, or you wouldn't be talking like that. Freddie ain't
dead."
"What did you say?" Mr. Friedlander stood perfectly still, in the
center of the room, his back to the stove, trying to peer through the
window which by now had frosted over. Mrs. Friedlander had stopped
her crying, hands clasped in front of her, below her waist, in an
obsequious Oriental pose which the Karadi promoted.
"I said Freddie ain't dead."
"What are you talking about?"
"Heard it on the short-wave, by God. Wouldn't kid about a thing like
this. I came busting in here to tell you, only that quisling was here
and I had to wait."
"You mean it's you who owns the short-wave set downstairs?" demanded
Mr. Friedlander. "I never stopped on the landing. I always ran
upstairs. You see, I didn't want to know who owned the short-wave, who
listened to the--"
"The free radio, other side of the Rockies? Go ahead, say it. Listen to
me, Mr. Friedlander. Those Karadi ain't here to stay. If you stopped to
think of it a minute, you'd understand like the rest of us."
"The rest of you?"
"Well, a lot of us, anyway. They don't need us. We have nothing they
want. They enjoy making us knuckle under, is all. Something in their
makeup, I don't know what. They won't stay here forever, though some of
us won't be around long enough to see them go."
"What's all that got to do with...?"
"With Freddie and the short-wave? He's been captured, Mr. Friedlander!
By the free folk. He's on their side now, the side all of us want to be
on but can't be. He's alive, you understand?"
"You wouldn't just be saying this? You're sure?"
"Wouldn't you trust the word of your own people, the people who saw
him come down by parachute, who took him in, got his name and beamed
it back here so you, his folks, wouldn't have to worry none? Well,
wouldn't you?"
"Yes!" Mrs. Friedlander cried in a tremulous voice. "Oh, yes...."
"Sensible girl," said Mr. Davidson.
Walking to the window and wiping away a circle of frost with his hand,
Mr. Friedlander felt a spring in his step he hadn't felt for twenty
years, since the day the Karadi came swooping down from space and
caught the world in a tired breathing spell in World War III. Freddie
was alive--and safe. Freddie was free. He must tell everyone. He
must shout it now, to all the neighbors, and shout it again at work
tomorrow, and withdraw his announcement from the Karadi Newspaper and
a hundred other things. He lifted the warped window, with cardboard
replacing two of the shattered panes, and breathed in the crisp, cold
night air. "I'll visit the newspaper in the morning," he said. "Tell
them to forget all about the announcement." He turned around and faced
his wife and Mr. Davidson. "What are you crying for? Stop crying."
"I'm so happy, Fred."
"Maybe I can get down to the newspaper now and see their night man."
"Hold on there," Mr. Davidson said. "Are you crazy or something,
young feller? Want to fit the noose around my neck yourself? Not just
me, but all the others. Think I'm the only one? There's Mr. and Mrs.
Peters, and the Schwartz's, the McDonalds, the Kopaks. You're just slow
catching on, that's all."
"You mean they all have short-waves, all those people?"
"That's exactly what I mean. We have to find freedom our own way. Oh,
we conform. We cry when we're supposed to, and laugh. But at night
we listen to the radio and learn some of the truth, so that when the
Karadi get bored with us and decide to leave, we can take our places in
a free world. Took me two years to build that short-wave out of spare
parts, but it was worth every minute."
"What do you do when they come around hunting?" Mr. Friedlander asked.
"Hide it, of course. Son, you're afraid of your own shadow."
"I am not. I just didn't know."
"For a time we were worried about you. Thought maybe you was a
quisling. Now I had to take the chance. I just had to tell you. Listen,
here's the thing. Here's what we'll do. We'll let the announcement
stick in the paper. Got to make them think we believe. Then we'll have
ourselves a real solemn funeral out to the graveyard near 92nd Street.
Know a preacher who'll wring every last tear out of all of us. I mean
all. We'll all go. The Kopaks, the Schwartz's, the Peters, everyone
who heard in on the short-wave about Freddie and how he's alive and
everything. The sadder we look, the happier we'll feel later on. Then
we'll have ourselves a real old fashioned celebration, like before the
Karadi came. Mr. McDonald says he has a bottle of real champagne he
was saving for when his girl Betty got married, but I talked him into
letting us use it. Son, we'll pull out all the stops. Of course, you
can't really get looped on an ounce or so of champagne, but we sure can
try! Well, see you at the funeral."
And Mr. Davidson went downstairs, cackling and whistling the dirge from
Beethoven's Eroica.
* * * * *
"Well," said Mr. Friedlander to his wife, "what do you think?"
"I think it's wonderful. That nice man, going to all that trouble."
"I'm not so sure. What do we know about Mr. Davidson? Maybe he's lying.
Maybe he's--"
"He wouldn't lie, not about a thing like that."
"I know how you feel. I felt that way at first, too. Free and--well,
relaxed for the first time in so long I can't remember. But then I got
to thinking. What if he's senile? What if he imagined the whole thing?
It would be a sin to celebrate, with Freddie dead."
"We could ask Mr. Peters, or the others. And Freddie's not dead!"
"That's what you want to believe. It's what I want to believe, too."
Mr. Friedlander walked to the window again, where the pane was frosting
over once more, giving a ghostlike quality to the street, the lamps,
the facades of the other tenements, the snow-laden trees outside. He
wanted to believe. But he had wanted to believe, in his youth, that
the killing war would one day end. When it did, the Karadi had come,
with talk of peace--although with their invincible weapons they had
disarmed all the world's armies and, instead of rebuilding, had made a
shambles of our civilization. Every day the Karadi told lies and told
you to believe. And planted spies to see that you did. And visited
you at unexpected moments to see that you conformed. And trained your
children to fight against free people, free people who they said were
your enemies. And gave extra clothing rations to a spy, to a believer,
to a man in the Karadi image.
"We can't ask the others," Mr. Friedlander said. "What if Mr. Davidson
was lying, or making it all up? You can't go around talking about
short-waves and things. It isn't safe."
"We have to know!"
"Do you want to be turned in as an undesirable? Is that what you want?
We already know. The Karadi told us." The more he spoke, the easier
it was to convince himself. You couldn't live with doubt. The Karadi
fostered doubt and taught you that: you had to avoid it. You had to
know. This is so, this is not so--if this other thing may or may not
be so, I don't want to talk about it. Alternative A or alternative B.
Simple. Concise. What did old Mr. Davidson know, anyway, listening to
his subversive radio? Why should the barbarians in the mountains tell
the truth any more than the Karadi or their agents? The barbarians are
our enemies. It's propaganda. Maybe Mr. Davidson is a saboteur for them.
"Is that clear?" Mr. Friedlander demanded. "Is that quite, quite clear?
Cry if you want. Freddie is dead. Freddie is dead. Dead. You can't
believe all the wild stories you hear."
Mrs. Friedlander was smiling at him through her tears, wiping them
away, assuming again the Oriental pose. "You believe what you want,"
she said. "We won't celebrate. We won't pretend. We'll say Freddie
is dead. But I'll believe--what I believe. And I'm thankful to Mr.
Davidson."
"So you can live in doubt all the rest of your life? For that you're
thankful?"
"I'm thankful for a crumb when I expected nothing. Where are you
going?"
Mr. Friedlander was buckling his worn overcoat and forcing his shoes
into wet overshoes. "Out for a walk," he said. "I want to think."
"It's a cold night."
"I don't care."
* * * * *
Outside, with the snow still falling, drifting down in unhurried
silence, he found himself hating Mr. Davidson. The man should
have minded his own business. Old meddler. He was a menace to the
community, too. Whose side was he on, anyway? A senile old man? An
agent provocateur for the barbarians in the western mountains? Was his
self-appointed mission in life to see to it that people like poor Mrs.
Friedlander never knew another moment of peace all the rest of their
lives?
The short-wave radio--all lies. It had to be lies. If it weren't
lies you could understand nothing. Black is white or white is black.
Everyone saying something else. You don't know. You never know.
He didn't want to start any trouble. He wasn't looking for trouble.
He was only a good, Karadi-fearing citizen who knew his place. But
Mr. Davidson had made a revelation to him. If all the others, if all
those people Mr. Davidson had named, chuckling over each name, taking
secret delight in each one as if he, the patriarch of the tenament had
converted them, one at a time or in groups, into clandestine outlaws,
if all those people were subversive, thought Mr. Friedlander, why
should he suffer along with them? Was it fair that he received the same
inadequate food, the same squalid lodging, the same menial jobs to
perform? He knew his place.
But they had told him about Freddie--or Mr. Davidson, their spokesman,
had--and he owed them something for that, for the one brief moment
in which they had shoved back the snow, the grim cold winter, the
bleak building and the smell of turnips, as a curtain, and revealed
his own youth to him, sparkling with hope, with promise, with a life
unfulfilled.
No!
Even that had been unkind. Premeditated? His lot would be all the more
unpleasant for it. And Mrs. Friedlander's. They'd sealed her in a
half-mourning, half-hoping future. They'd ruined her whole life.
He'd have to move, of course, with his wife. But perhaps they'd earn
the right to a better neighborhood. He walked up the six snow-covered
steps to the police station, went inside, sat down and started telling
the uniformed figure at the desk about the subversives in his building
who owned short-wave radios, starting with Mr. Davidson and going right
on down the list. He hoped the Karadi would come and take them away
before the funeral.
End of Project Gutenberg's A Cold Night for Crying, by Milton Lesser
*** END OF THIS PROJECT GUTENBERG EBOOK A COLD NIGHT FOR CRYING ***
***** This file should be named 58790.txt or 58790.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/8/7/9/58790/
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
[email protected]
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.
