The Project Gutenberg eBook of Hot Music
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: Hot Music
Author: Vic Whitman
Illustrator: David Hutchison
Rafael de Soto
Release date: February 9, 2026 [eBook #77893]
Language: English
Original publication: New York: Street & Smith Corporation, 1929
Credits: Prepared by volunteers at BookCove (bookcove.net)
*** START OF THE PROJECT GUTENBERG EBOOK HOT MUSIC ***
HOT MUSIC
By Vic Whitman
CHAPTER I.
SIGNALS IN CODE.
In one of the broadcasting rooms of Station KYK a famous dance band was
setting up its instruments preparatory to a half hour’s entertainment.
The players were laughing and joking, with no need for silence. The
power had been switched to a little room overhead where Officer Dave
Cates, official police announcer, was holding forth in code to police
details all over the great city.
“Nothing further has been done by those in authority about the addition
of fifty new plain-clothes men to the force,” Cates said into the
microphone. “Headquarters is inquiring into the matter, however, and
may be expected to give out more information at any time.”
All of which meant to the listening ears of the police:
“There have been no more developments in the Van Goss jewelry robbery
of two weeks ago. Headquarters is planning to assign more men to the
case.”
This was the job of Dave Cates, who was listed on the books as an
officer solely because of his connection with the department. He was a
verbal messenger boy, conveying the reports and orders of headquarters
over the air to the police details of the city. Because plenty of red
blood flowed through the small body of Officer Cates the job sometimes
got very tiresome.
If only he could go out on such a case as the Van Goss robbery, he
would find the action he craved. Then again, the solving of such a case
with its monetary reward would bring his dream that much nearer; a
dream intimately concerned with a hazel-eyed, laughing little dancer
and a white, green-shuttered bungalow with a forty-foot garden plot out
back.
Probably Anabelle Talbot was listening in to him now. She usually did
every evening before she went out to the Salon Quintesse to dance to
the music of Leo Archer’s famous band.
Cates sighed and glanced at the electric clock on the wall. “There is
yet five minutes of time remaining to us,” he announced, “but since
there doesn’t seem to be any more----”
He stopped suddenly. Some one had come hurriedly into the little
telephone room and was talking in excited, petulant tones.
“A woman,” Cates murmured. “Now what the deuce does she want up here?”
Louder, he said, “Please stand by for one moment.” Then he stepped into
the telephone room.
A young woman was firing questions at the harassed telephone operator.
Her clothes, her manner and her intonation, told Cates that she was a
woman of culture and apparent wealth.
With her was a man in his early thirties. Tall, lean, handsome, with a
cynical mouth and a complexion that tended to the sallow, Cates
recognized him instantly as Leo Archer, leader of the dance band which
was waiting below.
Archer was leaning indolently against the door, obviously bored by the
proceedings. He stifled a yawn as Cates looked at him.
“Here he is now,” grumbled the operator, “S’pose you talk to him.”
The young woman turned swiftly. “You are Mr. Cates, the police radio
announcer?” she asked.
“Yes.” Cates noticed that her face was white and distracted, that her
lips were trembling. He failed however to see that first faint look of
surprise in her eyes.
It was difficult for most radio listeners to reconcile Dave Cates’
rich, golden voice with his small, stocky body, his sandy hair and his
freckled face.
“Yes, I’m Cates,” he said. “What can I do for you?”
“Oh!” Her exclamation was part sob. “I--I came up to tell you that I
have just been robbed of a very valuable necklace and two diamond
rings. I thought you might broadcast it to the police. That seemed
better than--than----” Her voice trailed away.
Cates’ blue eyes lighted with interest. Could this robbery be connected
with the Van Goss robbery? He thought quickly how strange it was that
she had happened to report it to him first. He wasn’t superstitious,
but---- A fleeting picture of the bungalow went through his mind.
“Certainly,” he said promptly. “Your name and address, please?”
“Miss Meusel--Miriam Meusel--apartment No. 8 at the Dutton Arms.”
“Can you describe the robbery briefly, Miss Meusel, and give me any
clews you may have to the bandit’s appearance? This is just so the
patrolmen in the vicinity can be notified to watch out for a certain
type.”
Cates’ coolness seemed to steady the young woman.
“I haven’t any clues or any ideas about it,” she told him. “I just
returned to my apartment and found out then that the jewelry had been
taken from my wall compartment.”
“About what time should you say it was taken?”
“Some time between four thirty and eight. That was the time I was out.”
“I see.”
Cates glanced at the clock as he went back to the microphone. He saw
that the time was eight thirty-three. It would do little good to report
this robbery by air; still, it would be imparting instantly such meager
information as he had.
Briefly, in code, Dave Cates announced the robbery. Then he signed off
for the evening and returned to Miss Meusel and Archer.
“The information has been given, Miss Meusel,” he said. “We can’t do
much more until we get more facts.”
“That won’t do you any good,” yawned Archer. “You chaps couldn’t see
anything that was plain before your eyes.”
Cates looked at the man. Naturally hot-headed, he had trouble in
checking the retort that impulse prompted. Archer’s contemptuous remark
reflected upon the department and, hence, reflected upon Cates. Then
and there he accepted the challenge.
He turned to the telephone operator. “Henry, connect me with Captain
Henessey, will you?”
In a moment the captain’s gruff voice sounded: “Police headquarters.”
“This is Cates,” reported the radio cop. “Get the dope all right?”
“Too well. Where are you now?”
“At KYK.” Cates drew a deep breath and braced himself. “Captain, how’s
for me to go over and take a look at Miss Meusel’s apartment?”
“You!”
“Sure. I can get the dope for you. I know I can.”
Silence for a moment. Cates could imagine the energetic veteran
considering.
Presently: “All right, go ahead. You can’t do any worse than the
others, anyway. And listen; you know how you like to talk when you get
started? Well, cut it out, and let the others talk. Understand?”
Cates grinned. “Yes, captain,” he said meekly.
“All right, then. Bring me as full a report as you can get.”
Exultantly Cates turned from the phone.
“Now, Miss Meusel,” he said, “if you don’t mind I’ll go over to your
apartment.”
Archer left them at the door to the KYK studios.
“My band starts broadcasting in ten minutes,” he explained, “otherwise
I’d go over with you, Miriam.” He grinned sardonically at Dave Cates.
“Oh, pardon me. I forgot the master mind here.”
“Don’t pay any attention to what he says, Mr. Cates,” urged Miss
Meusel.
“I don’t,” said Officer Cates quietly.
CHAPTER II.
CRASHING SYNCOPATION.
The Dutton Arms was nearby, which probably accounted for Miss Meusel
coming to the broadcasting studio instead of at once notifying
headquarters. Her apartment was roomy and furnished in quiet, luxurious
taste. “Do you live here alone?” Cates asked.
She nodded. “Yes. I play a concert violin and I do all my practicing
here.” She smiled faintly. “Nobody else would want to be around, even
though my violin is very old and considered one of the best in tonal
quality in the country.”
Dave Cates rubbed thoughtfully at his chin. Then, without comment, he
started to look around the place. Nothing had been disturbed, according
to Miss Meusel, save that the wall-compartment door was swinging on its
hinge.
Cates strolled to the window and looked out. The automatic fire escape
had not been used, as he realized when he tapped the edge of the drawer
and found that dust clung to his fingers.
Turning from the window he went across the room. A violin case lay on
the table and Cates gazed idly at it.
Something on the floor caught his attention and he stooped, then looked
up at the watching girl.
“Have you been playing recently?” he asked.
“No, I’m sorry to confess that I haven’t touched the violin for two
days,” she answered. “It hasn’t been out of its case.”
Cates sat down.
“Suppose you tell me of your activities between four thirty and eight,”
he suggested.
Miss Meusel considered for a moment.
“Well,” she began, “about four fifteen Leo Archer phoned and asked me
to meet him over at the Renhurst, where his band plays for tea dances.
I put my necklace and rings away, and started out with Mr. Hughes, who
had called to see me about a business matter.
“In turning to say something to me, Mr. Hughes bumped into that table,
knocking over a flower vase, a box of candy, and some books. My maid
was out for the afternoon and evening and since I was in a hurry and
couldn’t attend to it, Mr. Hughes kindly offered to remain behind and
clean things up a bit.”
“It looks as if he did, too,” commented Cates negligently. “Do you by
any chance mean Arthur Hughes?”
“Yes. Do you know him?”
Cates knew of him only by reputation as being wealthy and a somewhat
eccentric young idler.
“I’ve heard the name,” he replied. “It doesn’t matter. Please go on
with your story.”
She continued: “I left Mr. Hughes behind and went to the Renhurst,
where I waited some fifteen minutes for Leo Archer. We had tea and
afterward we drove out to an inn for dinner with Gerald Terhune--he’s
the manager of Archer’s band.
“Then, when I returned to the apartment, I found that the jewelry was
gone.”
“You say you had to wait fifteen minutes for Archer at the Renhurst?”
“About that long--yes. But that’s nothing unusual, for he’s never on
time. He told me he was up in his office at the Renhurst working on a
new number he’s writing.”
“A good band leader, isn’t he?”
“Oh, he’s wonderful!” she enthused. “You wouldn’t think to look at him
that he can direct such a band. Yet his team is one of the jazziest in
the country. He’s awfully temperamental, though. He can write and score
the weirdest numbers, but he needs actual inspiration to do it.”
Cates rose and went to the radio. “Do you mind if I tune in on him for
a moment?” he asked. “I never paid any attention to his band, probably
because I’m not much of a musician.”
“Of course not.”
* * * * *
Cates turned the dials and presently the music of a dance band filled
the room. It was crashing syncopation of the first order with a steady
foundation of piano, banjo, bass, and drums holding solidly beneath a
structure of silken saxophones, shrilling violins, and cutting
trumpets.
Despite the worry of her loss, Miriam Meusel’s foot tapped to the tempo
of the music and her shoulders swayed gracefully.
“Isn’t that marvelous!” she exclaimed.
Musical or not musical Dave Cates could not but feel that compelling
sweep of the rhythm.
“Hot stuff,” he agreed.
He was frowning a bit as he shut off the radio and reseated himself.
“By the way, Miss Meusel, are there any other keys to this apartment
besides your own?”
She hesitated, looking at him oddly.
“Yes,” she responded. “My maid has one and the janitor, of course, has
a pass key.”
“Any others?”
“No.”
“I suppose you have a number of friends who know this apartment quite
well.”
She became indignant.
“Yes, naturally, but I don’t see what on earth my friends have to do
with this.”
“Nothing,” murmured the little radio cop. “Nothing at all. Only we have
to consider everything, you know.”
At that moment someone came to the door, and there was a sound as of a
key being put into the lock. Miriam Meusel rose hurriedly and went to
the door where, Cates thought, she made some whispered remark.
Then a short, florid-faced man entered. Seeing Cates, he turned to Miss
Meusel.
“I didn’t know you were entertaining, Miriam,” he said in a purring
voice. “Otherwise I would not have called.”
She avoided Cates’ eyes as she made the introduction.
“This is Mr. Cates, Mr. Terhune,” she said. “Mr. Cates is from
headquarters, Jerry.”
Cates acknowledged the introduction with a quick handshake. He knew of
Terhune, manager of Archer’s band and recently appointed chairman of
the general committee for the Charity Ball.
Yet he reacted strongly from this first acquaintance. Terhune’s
softness, his ingratiating smile, went against Cates’ sturdy grain.
“Ah, the robbery--yes,” said Terhune softly. “A great shame, Miriam,
and probably the work of some clever, experienced crook. Getting so a
man hardly dares take his afternoon nap. In fact, this afternoon I
fancied I heard some one prowling about my room. Doubtless it was
purely imaginary.”
“May I ask where your room is?” said Cates.
“At the Renhurst, Mr. Cates.”
A loud knock came on the door. Miss Meusel admitted Arthur Hughes, a
tall, big-shouldered young man with gray eyes, and a suggestion of
recklessness in his bearing.
“Say, this sure is tough, Miriam!” he burst out impetuously. “About the
robbery, I mean. I just heard about it and ran in to see if I could
help out in any way.”
The girl patted his arm.
“You’re a dear, Arthur,” she said, “but Mr. Cates is handling the
affair.”
Introduced, Cates took a quick inventory of Hughes and found that he
rather liked him. But perhaps that was because Hughes appeared to good
advantage when contrasted with Terhune.
“Don’t misunderstand my questions,” Cates said to Hughes, “but I
understand you were up here this afternoon after Miss Meusel left the
apartment.”
Hughes grinned boyishly and drew a cigarette case from his pocket.
“I knew I’d come under suspicion,” he remarked. “Yes, I was up here. I
came because I had heard from some friends of mine in Philadelphia in
regard to a concert booking for Miss Meusel, and I knew she’d be
interested.”
“How long were you here after she left the apartment?”
“Oh, a matter of ten or fifteen minutes,” said Hughes indifferently.
“Just long enough to pick up some things I kicked over.”
“Did you meet any one going out?”
“Not in the building. There were people passing outside.”
Cates nodded. “I see,” he said. “Well, I guess that’s all for now, Miss
Meusel. I’ll give you a report as soon as possible.”
At the door Cates paused. “By the way, Mr. Terhune,” he asked, “are you
having Leo Archer play at the Charity Ball?”
Terhune wriggled like a puppy eager to please.
“Why, yes,” he answered. “Don’t you approve?”
“You bet your life I do,” answered Officer Cates with conviction.
CHAPTER III.
PIPE DOWN!
Captain Henessey looked up as Cates came into headquarters. Then he
threw down his pen, grinned, and leaned back in his chair. The
stalwart, grizzled veteran liked Cates and secretly admitted that the
boy had possibilities aside from oratory.
“How’d you make out?” he demanded.
Officer Cates of the wave-length squad dropped down in a handy chair
and lit a cigarette. Then he drew a deep breath and set himself for
speech.
“Not so bad, captain,” he said. “To begin with, there are plenty of
probabilities in connection with this case as I see it; so many, in
fact, that it’s going to be a tough job to reconcile all of them to the
distinct end of any definite lead. Now, when it comes to robberies in
general----”
Captain Henessey interrupted with a bang of his big fist on the desk.
“Must you always begin everything with a public speech?” he roared. “I
haven’t got time to listen to the history of the world! What I want are
the facts on this Meusel case. Have you got them or must I crown you
with the record book?”
Officer Cates grinned, not in the least abashed. He knew the captain
quite as well as the captain knew him.
“I have ’em and here they are,” he said.
At the conclusion of the story Captain Henessey frowned.
“Let’s see now,” he summed up, “Archer was fifteen minutes late in
meeting her. Hughes remained behind in the apartment, and Terhune
evidently had a key that she wouldn’t tell you about. Added to that,
the maid, the janitor, and other unknowns must be considered.”
“I know,” agreed Cates. He eyed his superior with some speculation.
Might as well broach what he had in mind now.
“Any objections if I go on this case unofficially?” he asked, hoping he
sounded casual.
Captain Henessey glared at him. “What are you talking about!” he
demanded.
“Just what I say,” answered Cates sturdily. “I’ve got ideas and plenty
of spare time and I’d like to put ’em both to work. Somebody’s got to
solve the thing and it might as well be me.”
“Well, speaking of nerve----”
“Sure,” retorted Cates. “A guy’s got to have it these days. Just look
back along the ages and consider the men who have put themselves
forward. Look where they got! See what they did! Consider Julius
Caesar, for example. Why, he----”
“All right,” said the captain hastily. “This is no debate.”
Thoughtfully he toyed with a pencil on his desk. Recalling the Margolo
gang affair, the captain realized that his small radio cop had police
stuff in him. The point was to bring him along gradually; not let him
get discouraged too many times.
“Suppose you tell me some of your ideas on this case, lad,” he
suggested.
Cates’ reply was instant. “Sure thing. I think that whoever took that
jewelry had a key to the apartment; I think that both robberies were
done by the same person or persons.
“To-morrow, if you don’t object, I’m going to talk to Mrs. Van Goss and
try to make the two robberies dovetail.
“Also, I’m going to put a lot of time on that key Terhune had. And
finally, I won’t interfere in the least with the work the other men are
doing. Only--only----”
“Only what?”
“If I run down these jewels, I’d like to claim the reward myself. You
see, captain----” He hesitated and blushed like a schoolboy.
“Yes, I see a lot that you don’t think I see, lad,” observed the
captain gravely, though with a twinkle in his shrewd eyes. “She’s a
fine little girl, and I wish you luck. Run along to her now and
consider yourself on the case.”
* * * * *
Early the next afternoon Dave Cates presented himself at the apartment
of Mrs. Van Goss--a sparkling little widow who rumor had it, had
received an immense fortune with the death of her husband. She met
Cates pleasantly enough, though with a questioning lift of well-placed
eyebrows.
“I’m from headquarters, Mrs. Van Goss,” he explained. “May I ask you a
few questions?”
She sighed. “Dear me, I’ve answered hundreds of questions since my
apartment was broken into. But go ahead and I’ll tell you what I can.”
“I’ll try to be brief.”
He smiled, and she smiled in return. Somehow Cates’ twisted little grin
reflected the richness of his voice, and few people could resist the
combination.
“Now,” he continued, “was it a phone message that called you out on the
day of the robbery?”
“It was.”
“Would you mind telling me who the call was from?”
“Not a bit,” she answered promptly. “It was from Mr. Hughes.”
“Arthur Hughes?”
“Yes. He was asking me to have tea with him at the Renhurst.”
Cates felt a quick excitement that his voice did not betray.
“Your jewels were taken during your absence, I presume,” he said.
“They were. I returned here about six as I recall it.”
“I see. Do you happen to know Leo Archer, or Terhune, or Miss Meusel
very well?”
“Oh, yes, I know them all very well indeed,” said Mrs. Van Goss. “In
fact we’re in and out of each other’s places all the time.”
“Are there any other keys to this apartment besides the ones your maid
and the janitor have?”
“No.”
“Do you always carry your key with you when you go out Mrs. Van Goss?”
“I do now,” she confessed with a rueful little laugh. “Before the
robbery I always left my key out in a potted plant in the corridor,
simply because I seem to have a propensity for losing keys.”
“Which is unfortunate, sometimes,” smiled Dave Cates. “I think that’s
all, Mrs. Van Goss, and thank you very much.”
She went with him to the door. “I hope you have learned something of
value to you,” she said. “Good afternoon.”
* * * * *
Outside, Cates’ smile faded as he realized that the thing was in more
or less of a tangle. He had become convinced that the same man
committed both robberies--due to the likeness of the two telephone
calls and the fact that the robberies were almost identical in points
of time and circumstance.
Going strictly by formula Hughes was the obvious suspect, since he had
phoned Mrs. Van Goss and since he had been in Miss Meusel’s apartment
after she had left it.
But it was a bit too obvious to satisfy Cates, regardless of the fact
that Captain Henessey’s best men were constantly watching Hughes.
Much more pertinent to him was Miss Meusel’s denial of any one’s
possession of a key other than her own.
Walking slowly, Cates reasoned. If only he could locate those jewels
the rest would be easy. The only way he might do that was to carry out
the idea he had in mind--a dangerous but possibly effective plan. That
plan, in brief, was to search a man’s rooms.
He hesitated, then his bulldog jaw squared. After all, he was working
toward that little white bungalow, and that was worth any risk. If he
could get evidence this way, so much the better.
Within the next hour Officer Cates had found the place he wanted, had
made sure no one was around, and had entered by means of a skeleton
key.
He searched hurriedly but thoroughly, taking care to replace everything
he overturned, in order that the occupant might not become suspicious.
Finished, Cates scratched his sandy head and swore.
“The son of a gun!” he muttered. “I was sure there’d be something up
here. This knocks everything into a cocked hat.”
CHAPTER IV.
ZOWIE!
Dejectedly Cates returned to headquarters to make his report to Captain
Henessey. The captain laughed. “Don’t take it so much to heart, lad,”
he encouraged. “Sometimes it requires weeks, months, years to untangle
one of these things.”
“I suppose so,” nodded Cates despondently. “Say, captain, what makes a
crook, anyway?”
Captain Henessey eyed his little radio officer uncertainly.
“So help me, you can ask some of the damnedest questions I ever heard
of!” he ejaculated.
Then, seeing that Cates was in earnest, he went on more kindly: “If you
must know, Dave, there’s probably a million different things, as you’ll
find out when you’ve been in this business as long as I have.
Environment, moods, impulses, hatred, hunger, needs excitement,
mental--why, what’s the trouble? Got an idea?”
For Dave Cates had suddenly sat bolt upright his blue eyes eager.
“I’ll say I have! How good it is I don’t know, but I’m going to sock it
for all it’s worth. Listen.”
Captain Henessey didn’t scoff at the plan. He was much too experienced
in police work for that.
“Not bad at all, lad,” he acknowledged. “It may not work, but then
again it may. Anyway, I’ll see that a microphone is installed where you
want it.”
Cates looked at his watch.
“Time for the broadcast, captain,” he said. “Give me the stuff you’ve
got ready. Afterward, I think I’ll take a run out to the Salon
Quintesse and listen to Leo Archer. I’m getting to know quite a lot
about music.”
Syndicate Park, where the Salon Quintesse was located, was a-glitter
when Cates arrived. It was a warm evening and couples were sauntering
through the grove during the intermission between dances.
A big car came roaring up the drive to give forth its cargo of
laughing, voluble, noisy youngsters. Down by the river some one was
playing a ukulele and the mellow chords blended oddly with the booming
music of Leo Archer’s band.
Cates went quietly into the big hall and sat down at a corner table. He
was an unobtrusive little figure and nobody paid the least bit of
attention to him.
The room was filled with amusement seekers, most of them in evening
dress. There were laughing faces, flushed faces, sad, serious, and
vindictive faces but Cates gave them little thought.
He was watching the tall lean figure of Leo Archer as the band leader
put his men through their paces.
It was a wonderful band, Cates thought. Hot music, probably none hotter
in the country. Funny that Archer could get such effects when he was
such a bored, cynical guy. Almost beyond understanding, but not quite.
Dave Cates became a bit wistful. He wished he had such talent as
Archer’s. It must be great to be up there leading a band like that.
Even music that boomed and crashed seemed connected with that vague
green-shuttered bungalow with the garden plot out back.
Then a slim, graceful little figure slipped out on the floor and began
to dance. Cates sat forward, his eyes sparkling with pride. If anybody
could beat Anabelle Talbot’s dancing, he’d like to know it!
It was one of the world’s prize mysteries, why she accepted his
attentions, but since she did he’d not question his blessings. She was
a dream girl suddenly come to life--his dream girl.
Whirling, pivoting, gliding, she moved about the floor, smiling
steadily as one who dances must smile. Then she saw the little radio
cop sitting alone in the corner, and her smile became radiant.
Lightly she blew him a kiss, finished her dance to a mad burst of
syncopation, and skipped into her dressing room.
“Gee!” exclaimed Dave Cates softly. “Gee!”
In a few minutes she came out of the dressing room and hurried over to
Cates’ table. Grinning broadly, he rose to greet her.
“You sure can dance, Ann!” he told her. “Boy, how you can dance!”
Hazel eyes sparkled up at him and a red little mouth crinkled at the
corners.
“I’m glad you think so, Dave,” she said. “Just the same I wish I didn’t
have to do it. Oh, did I tell you that Leo Archer wants me to sign a
contract to dance exclusively to his music?”
Cates shook his head. “No, you didn’t,” he said slowly. “Are you going
to sign?”
“I don’t want to, Dave. But you know a girl must do something.” She
stopped and studied his face. “Anyway,” she finished, “he gave me until
the Charity Ball to decide.”
“Which is just a couple of days anyway,” mused Cates. “Say, Ann, when
did he offer you this contract?”
“Yesterday,” she answered. “He called me up to his office at the
Renhurst.”
“At what time?”
She looked wonderingly across the table. “Why all curiosity about it,
Dave?”
“I’ll explain some time, Ann. What time was it?”
“Why, shortly after four o’clock, I think.”
“How long were you there?”
“Only a few minutes. He was working feverishly on a new number he
expects to introduce at the Charity Ball. He offered me this contract,
and told me I could take it or leave it. Then he gave me till the
Charity Ball to decide.”
Suppressed excitement was in Dave Cates’ voice. “Did any one come in
while you were there?” he asked.
She considered.
“N-no,” she said presently. “That is, nobody but a bell boy who had a
little package that he gave Archer.”
“Wow!” Cates smacked his fist jubilantly into the palm of his hand.
“I’ve got it now; sure as the deuce I have! What a break this is!
Zingo!”
He reached across the table and took both her hands, caring not what
people around might think. “Gee, you’re a dear, and a sweetheart, and
how you’d fit into that little bunga----”
“Dave, behave! What in the world ails you!”
“Nothing, honey. I can’t tell you yet, but the first thing I’m going to
plant is tomatoes. Zowie!”
* * * * *
Greatly as the city was interested in the Van Goss-Meusel jewel
robberies, the interest in the Charity Ball overshadowed all else. It
was an annual affair and tradition and skillful publicity had built it
up to a point where attendance was a matter of civic pride. A hundred
social leaders served as patronesses; the best show talent in town was
secured for the acts; and the general populace prepared for a gala
night.
As chairman of the general committee, Terhune bustled around attending
to this and that, a smile of smug importance on his florid face. Had he
not been so preoccupied he might have noticed that he was trailed by a
small, stocky figure, homely and determined of face.
At this last hour Dave Cates was overlooking no bets. Not only did he
watch Terhune, but he kept an eye on Miss Meusel and Leo Archer. To
Hughes he paid no attention.
“It’s got to break right,” was his constant thought. “When anything
means as much to a guy as this does to me, it’s got to break right.”
CHAPTER V.
HOT MUSIC.
The Spanish room of the Greystark, the most magnificent hotel in town,
was engaged. At eight o’clock on the night of the event the huge
ballroom was nearly filled. Gaudy decorations had transformed the room
into a great hacienda; brilliant streamers waved and floated and
intertwined in a glowing mass of color.
Gay parties met and chatted, and the hum of steady conversation
provided an accompaniment for all other sounds--the tuning of the
instruments, the ceaseless rumble of passing traffic, the occasional
clear laugh of a woman.
Up on the specially constructed platform, Leo Archer and his band were
making ready. As always, Archer looked extremely bored and cynical. A
sneering smile edged his lips as he looked out upon the festivities.
Now and then he said something to the radio announcer of KYK, who faced
a microphone just to the left of the platform.
On the floor Terhune was moving about from group to group, greeting all
and sundry with his fixed smile. Over in a corner were Hughes and the
dazzling young widow, Mrs. Van Goss.
Dave Cates could take in the whole scene from where he was sitting--up
in an obscure little balcony with the curtains drawn just enough to
permit of concealment. Before him, too, was a microphone, and beside
him was a little lever by which he could switch the control instantly
from the floor announcer to himself.
“Some gang, isn’t it, Ann?” he grinned, “Hadn’t you rather be down
there with ’em than sitting up here just looking on?”
“Don’t be silly, Dave,” she said softly, smiling at him.
She was rather puzzled at all this, the microphone and the partly drawn
curtains; but she asked no questions, realizing that Cates was on
police duty of some sort.
With a crash of cymbal the band went into a modern, popular trot. The
blue eyes of Officer Cates went to Archer. For all his boredom the man
was a genius, and he was at his best to-night.
Leading his band with the baton, his eyes gleaming to the cutting
thrusts of the trumpets, to the sense-lulling croon of the saxophones,
to the twang of the banjo, he was a master of jazz.
Then the music softened and a hokum man stepped to the front of the
platform, singing:
“The moon was new
And so was love.
This eager heart of mine was singing
Lover where can you be--ee----”
* * * * *
Cates glanced at Anabelle Talbot. In that music he could feel the
expression of a longing--of a longing that was universal and poignant.
Well, he knew what it was. He knew from the sudden throb in his temples
as Anabelle’s hazel eyes met his for the briefest of instants. The
age-old, deathless search for an ideal--and the ideal was here by his
side.
“Oh, lover come back to me.”
Then the trumpets caught up the chorus and tossed it tempestuously
about. Booming, thrilling, haunting music! No wonder Leo Archer was
called a genius; no wonder he could name his own salary.
With a swirling rush of syncopation that died abruptly on a piercing,
sustained note, the number ended. Thunderous applause broke out,
applause in which Dave Cates joined.
“Gee, that music gets me!” he exclaimed.
Miss Talbot nodded understandingly.
“It gets me, too, Dave,” she said. “But wait until you hear the number
he’s just written. He wrote it in three days, they say. The title of it
is ‘Hot Music.’”
Officer Cates stared, then threw back his head and laughed.
“Well, if that’s not a pip!” he cried. “Lady, lady, that one wins the
world! I’ve got to hand it to him, he’s good.”
“Why, what in the world----”
“You’ll find out shortly, Ann,” chuckled Gates. “Yes, very shortly.”
He pushed the curtain a bit to one side and scrutinized the crowd
carefully. Ah, there she was--the woman he was looking for! She had
just stepped in front of the band platform where Archer could hear her,
and she was saying something to her companion. Then the two of them
moved near Terhune and spoke again.
Dave Cates grew tense. Watching like a hawk he saw that Archer was
stirring restlessly about, that Terhune seemed uneasy. In a moment
Terhune left the hall.
Archer faced his band and held out his baton. The instruments came to
attention. Down came the baton and seemed to strike forth a coherent
cataclysm of sound from brass and strings. Flaring, the music rose to
the heavens. Then, with the introduction well under way, Leo Archer
laid down his baton and went hurriedly from the hall.
CHAPTER VI.
STRONG EXCITEMENT.
Annabelle Talbot seized Cates by the arm.
“Oh, it’s his new number, Dave,” she exclaimed. “It’s ‘Hot Music’!”
Dave Cates grinned widely. “Great!” he answered. “I’ll never forget
it.”
Reaching down he snapped the lever that swung the control to himself.
Into the microphone he said simply: “Cates speaking. Leo Archer’s band
is now playing ‘Hot Music.’”
Then he switched the control back to the man on the floor, and the
thousands who were listening in gave little thought to the
interruption.
But Cates’ words started things at headquarters. Captain Henessey came
to his feet with a bound, and roared orders at three plain-clothes men,
who rushed for the door.
Five minutes, ten minutes, a half hour, and then Captain Henessey poked
his grizzled head into the little balcony.
“Got him dead to rights, Dave, and recovered every piece of jewelry,”
he announced with poorly concealed jubilation. “You had the right dope,
boy, and don’t forget it.” The captain smiled at Anabelle Talbot. “You
don’t mind if we clear up a point or two, do you?” he asked.
She rose uncertainly. “If you’d rather talk business by yourselves----”
“You sit right where you are,” said Captain Henessey genially. “You’ll
be prouder than ever of this boy when he finishes his story. Go ahead,
Dave, and let’s hear how you worked it out.”
It has been said that Officer Cates liked to talk. And who is there who
can blame him for wanting to outdo himself while the lovely Anabelle
was listening?
He cleared his throat and cut loose: “It’s this way, captain. We know
that Hughes phoned Mrs. Van Goss in that first robbery. Our friend knew
of it--maybe accidentally, maybe not--and hit upon the scheme of
robbing her apartment.
“It seems that Archer can play and write better music after strong
excitement of some sort. Anyway, he knew the lay of the land, the time
the widow was going out, and where she left the key. The rest was easy.
“Since Archer got such a kick out of that robbery, he decided to do
another and plan it all himself. He knew that Terhune was in the habit
of taking a nap, and he bribed a bell hop to get Terhune’s key book for
him. Anabelle, here, was in his office when the bell hop passed in the
keys.
“Then Archer made the date with Miss Meusel to meet him, saying he had
a business conference on and couldn’t call for her.
“Luckily, Hughes was out of the apartment by the time Archer got there.
He got the jewels and started out, but saw that rare old violin of Miss
Meusel’s and couldn’t resist trying it out, being the musician that he
is.
“In doing so Archer spilled just enough of the resin for me to see. I
began to think something was phony when Miss Meusel told me she hadn’t
touched the violin for two days.
“Still I kept on eye on the others, too. The main thing was that I
couldn’t figure out what he’d done with the jewelry. I didn’t think
he’d hock it or sell it, but when I took a chance and searched his
rooms nothing was there. Then I got a rush of brains to the head. If he
swiped the jewels to get inspiration to write better music, he’d
naturally keep ’em handy, where he could look at ’em. Funny, but some
guys are that way.
“I knew that there was an iron safe in his office and that I couldn’t
get into it. So, knowing that the jewelry would be on his mind, I got a
plant to go down on the floor tonight and mention casually that she’d
heard the police had found the jewelry of the Van Goss-Meusel
robberies.
“Sure enough, Archer hustled over to his office to check up on it. I
guess that’s all.”
“But how about Terhune having a key to the apartment and why should
Miss Meusel want it kept quiet?” demanded the captain.
Cates grinned. “They were married,” he answered. “I checked up on it at
the City Hall. Because of concert bookings and other things they
decided to keep it secret for a while.”
“Then how did Archer know that Terhune had the key?”
“Because he stood up with Terhune at the marriage, and they made him
promise to keep quiet about it.”
Anabelle Talbot’s lovely eyes had been widening during the recital.
“Do you mean that Leo Archer was the robber?” she said breathlessly.
“He was, Miss Talbot, and he had the earmarks of a good one, too,”
nodded the captain. “As the lad here has said, Archer wanted excitement
and felt he could put out better music under its spell.”
“I never liked him,” said the girl slowly, “but I didn’t think he’d do
anything like this.”
“You never can tell,” observed Captain Henessey. He rose. “Well, Dave,
you’ll get a good sum out of this. That ought to be enough to----”
He stopped, gazing from the red-faced little radio cop to the wondering
girl, and grinning broadly.
“Oh, well, I guess you two can settle that yourselves.” With a nod he
was gone.
Anabelle Talbot looked inquiringly at Cates.
“What was he talking about?” she asked.
“Gee, I don’t know, honey,” stammered Officer Cates of the radio squad.
“Maybe he meant that you wouldn’t have to sign any contract to dance.
You see, I’m going out to-morrow to take a look at a little bungalow
and if you--an’--if you know what I mean by----”
Miss Talbot’s cheeks became the color of a red, red rose, and her hazel
eyes softened wonderfully.
“I think I understand, Dave,” she murmured. “I’d like to see the
bungalow.”
“Gee!” marveled Dave Cates some moments later. “Gee! I can’t even carry
a tune and just think what made this possible!”
“What, dear?”
“Hot Music!” finished Officer Cates in tones of awe.
[Transcriber’s note: This story appeared in the First September Number
of _Top-Notch_ magazine.]
*** END OF THE PROJECT GUTENBERG EBOOK HOT MUSIC ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you
are not located in the United States, you will have to check the laws
of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg™ trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, “Information about donations to the Project Gutenberg
Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg™
works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
