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except that I was feeling exceptionally fine-"
"That's a symptom."
"Yes, I remember. But it didn't occur to me then. I had just picked up a piece of metal with a hole in
it, when-"
"A what? You mean worked metal? Metal that some one made-"
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"Yes, that's why I was so ex-" He stopped and looked puzzled. "But it couldn't have been."
"Possible. This planet might have been inhabited . . . or visited.
"Oh, I don't mean that." Morrie shrugged it off, as if it were of no importance. "I was looking at it,
realizing what it meant, when a little bald-headed short guy came up and . . but it couldn't have been."
"No," agreed Cargraves, after a short pause, "it couldn't have been. I am afraid you were beginning
to have anoxia dreams by then. But how about this piece of metal?"
Morrie shook his head. "I don't know," he admitted "I remember holding it and looking at it, just as
clearly as I remember anything, ever. But I remember the little guy just as well. He was standing there
and there were others behind him and I knew that they were the moon people. There were buildings and
trees." He stopped. "I guess that settles it."
Cargraves nodded, and turned his attention to Morrie's oxygen pack. The valve worked properly
now. There was no way to tell what had been wrong, whether it had frosted inside when Morrie walked
on into the deeper shadows, whether a bit of elusive dirt had clogged it, or whether Morrie himself had
shut it down too far when he had reduced pressure at Cargraves' suggestion and thereby slowly
suffocated himself. But it must not happen again. He turned to Art.
"See here, Art. I want to rig these gimmicks so that you can't shut them off below a certain limit.
Mmmm . . no, that isn't enough. We need a warning signal too -- something to warn the wearer if his
supply stops. See what you can dream up."
Art got the troubled look on his face that was habitual with him whenever his gadget-conscious
mind was working at his top capacity. "I've got some peanut bulbs among the instrument spares," he
mused. "Maybe I could mount one on the neck ring and jimmy it up so that when the flow stopped it
would-" Cargraves stopped listening; he knew that it was only a matter of time until some unlikely but
perfectly practical new circuit would be born.
Chapter 13 - SOMEBODY IS NUTS!
THE TOP OF THE RING OF HILLS showed them the earth, as Morrie had thought. Cargraves, Art,
and Ross did the exploring, leaving Morrie back to recuperate and to work on his celestial navigation
problem. Cargraves made a point of going along because he did not want the two passengers to play
mountain goat on the steep crags -- a great temptation under the low gravity conditions.
Also, he wanted to search over the spot where Morrie had had his mishap. Little bald men, no; a
piece of metal with a hole in it -- possible. If it existed it might be the first clue to the greatest discovery
since man crawled up out of the darkness and became aware of himself.
But no luck -- the spot was easy to find; footprints were new to this loose soil! But search as they
might, they found nothing. Their failure was not quite certain, since the gloom of the crater's rim still
hung over the spot. In a few days it would be daylight here; he planned to search again.
But it seemed possible that Morrie might have flung it away in his anoxia delirium, if it ever
existed. It might have carried two hundred yards before it fell, and then buried itself in the loose soil.
The hill top was more rewarding. Cargraves told Art that they would go ahead with the attempt to
try to beam a message back to earth . . . and then had to restrain him from running back to the ship to get
started. Instead they searched for a place to install the "Dog House".
The Dog House was a small pre-fab building, now resting in sections fitting snugly to the curving
walls of the Galileo. It had been Ross's idea and was one of the projects he and Art had worked on
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during the summer while Cargraves and Morrie were training. It was listed as a sheet-metal garage, with
a curved roof, not unlike a Quonset hut, but it had the special virtue that each panel could be taken
through the door of the Galileo.
It was not their notion simply to set it up on the face of the moon; such an arrangement would have
been alternately too hot and then too cold. Instead it was to be the frame for a sort of tailor-made cave.
They found a place near the crest, between two pinnacles of rock with a fairly level floor between
and of about the right size. The top of one of the crags was easily accessible and had a clear view of
earth for line-of-sight, beamed transmission. There being no atmosphere, Art did not have to worry
about horizon effects; the waves would go where he headed them. Having settled on the location, they
returned for tools and supplies.
Cargraves and Ross did most of the building of the Dog House. It would not have been fair to Art
to require him to help; he was already suffering agonies of indecision through a desire to spend all his
time taking pictures and an equally strong desire to get his set assembled with which he hoped to raise
earth. Morrie, at Cargraves' request, stayed on light duty for a few days, cooking, working on his
navigation, and refraining from the strain of space-suit work.
The low gravitational pull made light work of moving the building sections, other materials, and
tools to the spot. Each could carry over five hundred pounds, earth-weight, of the total each trip, except
on the steeper portions of the trail where sheer bulk and clumsiness required them to split the loads.
First they shoveled the sandy soil about in the space between the two rocks until the ground was
level enough to receive the metal floor, then they assembled the little building in place. The work went
fast; wrenches alone were needed for this and the metal seemed light as cardboard. When that was done,
they installed the "door," a steel drum, barrel-sized, with an air-tight gasketed head on each end.
Once the door was in place they proceeded to shovel many earth-tons of lunar soil down on top of [ Pobierz całość w formacie PDF ]
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