The Project Gutenberg eBook of The Game of Rat and Dragon

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: The Game of Rat and Dragon

Author: Paul Myron Anthony Linebarger

Release date: August 5, 2009 [eBook #29614]

Language: English

Credits: Produced by Sankar Viswanathan, Adam Buchbinder, and the

Online Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE GAME OF RAT AND DRAGON ***

Transcriber's Note:

This etext was produced from Galaxy Science Fiction, October 1955. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

The Game of

Rat and Dragon

By CORDWAINER SMITH

Only partners could fight this deadliest of

wars—and the one way to dissolve the

partnership was to be personally dissolved!

Illustrated by HUNTER

THE TABLE

inlighting is a hell of a way to earn a living. Underhill was furious as he closed the door behind himself. It didn't make much sense to wear a uniform and look like a soldier if people didn't appreciate what you did.

He sat down in his chair, laid his head back in the headrest and pulled the helmet down over his forehead.

As he waited for the pin-set to warm up, he remembered the girl in the outer corridor. She had looked at it, then looked at him scornfully.

"Meow." That was all she had said. Yet it had cut him like a knife.

What did she think he was—a fool, a loafer, a uniformed nonentity? Didn't she know that for every half hour of pinlighting, he got a minimum of two months' recuperation in the hospital?

By now the set was warm. He felt the squares of space around him, sensed himself at the middle of an immense grid, a cubic grid, full of nothing. Out in that nothingness, he could sense the hollow aching horror of space itself and could feel the terrible anxiety which his mind encountered whenever it met the faintest trace of inert dust.

As he relaxed, the comforting solidity of the Sun, the clock-work of the familiar planets and the Moon rang in on him. Our own solar system was as charming and as simple as an ancient cuckoo clock filled with familiar ticking and with reassuring noises. The odd little moons of Mars swung around their planet like frantic mice, yet their regularity was itself an assurance that all was well. Far above the plane of the ecliptic, he could feel half a ton of dust more or less drifting outside the lanes of human travel.

Here there was nothing to fight, nothing to challenge the mind, to tear the living soul out of a body with its roots dripping in effluvium as tangible as blood.

Nothing ever moved in on the Solar System. He could wear the pin-set forever and be nothing more than a sort of telepathic astronomer, a man who could feel the hot, warm protection of the Sun throbbing and burning against his living mind.

oodley came in.

"Same old ticking world," said Underhill. "Nothing to report. No wonder they didn't develop the pin-set until they began to planoform. Down here with the hot Sun around us, it feels so good and so quiet. You can feel everything spinning and turning. It's nice and sharp and compact. It's sort of like sitting around home."

Woodley grunted. He was not much given to flights of fantasy.

Undeterred, Underhill went on, "It must have been pretty good to have been an Ancient Man. I wonder why they burned up their world with war. They didn't have to planoform. They didn't have to go out to earn their livings among the stars. They didn't have to dodge the Rats or play the Game. They couldn't have invented pinlighting because they didn't have any need of it, did they, Woodley?"

Woodley grunted, "Uh-huh." Woodley was twenty-six years old and due to retire in one more year. He already had a farm picked out. He had gotten through ten years of hard work pinlighting with the best of them. He had kept his sanity by not thinking very much about his job, meeting the strains of the task whenever he had to meet them and thinking nothing more about his duties until the next emergency arose.

Woodley never made a point of getting popular among the Partners. None of the Partners liked him very much. Some of them even resented him. He was suspected of thinking ugly thoughts of the Partners on occasion, but since none of the Partners ever thought a complaint in articulate form, the other pinlighters and the Chiefs of the Instrumentality left him alone.

Underhill was still full of the wonder of their job. Happily he babbled on, "What does happen to us when we planoform? Do you think it's sort of like dying? Did you ever see anybody who had his soul pulled out?"

"Pulling souls is just a way of talking about it," said Woodley. "After all these years, nobody knows whether we have souls or not."

"But I saw one once. I saw what Dogwood looked like when he came apart. There was something funny. It looked wet and sort of sticky as if it were bleeding and it went out of him—and you know what they did to Dogwood? They took him away, up in that part of the hospital where you and I never go—way up at the top part where the others are, where the others always have to go if they are alive after the Rats of the Up-and-Out have gotten them."

Woodley sat down and lit an ancient pipe. He was burning something called tobacco in it. It was a dirty sort of habit, but it made him look very dashing and adventurous.

"Look here, youngster. You don't have to worry about that stuff. Pinlighting is getting better all the time. The Partners are getting better. I've seen them pinlight two Rats forty-six million miles apart in one and a half milliseconds. As long as people had to try to work the pin-sets themselves, there was always the chance that with a minimum of four hundred milliseconds for the human mind to set a pinlight, we wouldn't light the Rats up fast enough to protect our planoforming ships. The Partners have changed all that. Once they get going, they're faster than Rats. And they always will be. I know it's not easy, letting a Partner share your mind—"

"It's not easy for them, either," said Underhill.

"Don't worry about them. They're not human. Let them take care of themselves. I've seen more pinlighters go crazy from monkeying around with Partners than I have ever seen caught by the Rats. How many do you actually know of them that got grabbed by Rats?"

nderhill looked down at his fingers, which shone green and purple in the vivid light thrown by the tuned-in pin-set, and counted ships. The thumb for the Andromeda, lost with crew and passengers, the index finger and the middle finger for Release Ships 43 and 56, found with their pin-sets burned out and every man, woman, and child on board dead or insane. The ring finger, the little finger, and the thumb of the other hand were the first three battleships to be lost to the Rats—lost as people realized that there was something out there underneath space itself which was alive, capricious and malevolent.

Planoforming was sort of funny. It felt like like—

Like nothing much.

Like the twinge of a mild electric shock.

Like the ache of a sore tooth bitten on for the first time.

Like a slightly painful flash of light against the eyes.

Yet in that time, a forty-thousand-ton ship lifting free above Earth disappeared somehow or other into two dimensions and appeared half a light-year or fifty light-years off.

At one moment, he would be sitting in the Fighting Room, the pin-set ready and the familiar Solar System ticking around inside his head. For a second or a year (he could never tell how long it really was, subjectively), the funny little flash went through him and then he was loose in the Up-and-Out, the terrible open spaces between the stars, where the stars themselves felt like pimples on his telepathic mind and the planets were too far away to be sensed or read.

Somewhere in this outer space, a gruesome death awaited, death and horror of a kind which Man had never encountered until he reached out for inter-stellar space itself. Apparently the light of the suns kept the Dragons away.

ragons. That was what people called them. To ordinary people, there was nothing, nothing except the shiver of planoforming and the hammer blow of sudden death or the dark spastic note of lunacy descending into their minds.

But to the telepaths, they were Dragons.

In the fraction of a second between the telepaths' awareness of a hostile something out in the black, hollow nothingness of space and the impact of a ferocious, ruinous psychic blow against all living things within the ship, the telepaths had sensed entities something like the Dragons of ancient human lore, beasts more clever than beasts, demons more tangible than demons, hungry vortices of aliveness and hate compounded by unknown means out of the thin tenuous matter between the stars.

It took a surviving ship to bring back the news—a ship in which, by sheer chance, a telepath had a light beam ready, turning it out at the innocent dust so that, within the panorama of his mind, the Dragon dissolved into nothing at all and the other passengers, themselves non-telepathic, went about their way not realizing that their own immediate deaths had been averted.

From then on, it was easy—almost.

lanoforming ships always carried telepaths. Telepaths had their sensitiveness enlarged to an immense range by the pin-sets, which were telepathic amplifiers adapted to the mammal mind. The pin-sets in turn were electronically geared into small dirigible light bombs. Light did it.

Light broke up the Dragons, allowed the ships to reform three-dimensionally, skip, skip, skip, as they moved from star to star.

The odds suddenly moved down from a hundred to one against mankind to sixty to forty in mankind's favor.

This was not enough. The telepaths were trained to become ultrasensitive, trained to become aware of the Dragons in less than a millisecond.

But it was found that the Dragons could move a million miles in just under two milliseconds and that this was not enough for the human mind to activate the light beams.

Attempts had been made to sheath the ships in light at all times.

This defense wore out.

As mankind learned about the Dragons, so too, apparently, the Dragons learned about mankind. Somehow they flattened their own bulk and came in on extremely flat trajectories very quickly.

Intense light was needed, light of sunlike intensity. This could be provided only by light bombs. Pinlighting came into existence.

Pinlighting consisted of the detonation of ultra-vivid miniature photonuclear bombs, which converted a few ounces of a magnesium isotope into pure visible radiance.

The odds kept coming down in mankind's favor, yet ships were being lost.

It became so bad that people didn't even want to find the ships because the rescuers knew what they would see. It was sad to bring back to Earth three hundred bodies ready for burial and two hundred or three hundred lunatics, damaged beyond repair, to be wakened, and fed, and cleaned, and put to sleep, wakened and fed again until their lives were ended.

elepaths tried to reach into the minds of the psychotics who had been damaged by the Dragons, but they found nothing there beyond vivid spouting columns of fiery terror bursting from the primordial id itself, the volcanic source of life.

Then came the Partners.

Man and Partner could do together what Man could not do alone. Men had the intellect. Partners had the speed.

The Partners rode their tiny craft, no larger than footballs, outside the spaceships. They planoformed with the ships. They rode beside them in their six-pound craft ready to attack.

The tiny ships of the Partners were swift. Each carried a dozen pinlights, bombs no bigger than thimbles.

The pinlighters threw the Partners—quite literally threw—by means of mind-to-firing relays direct at the Dragons.

What seemed to be Dragons to the human mind appeared in the form of gigantic Rats in the minds of the Partners.

Out in the pitiless nothingness of space, the Partners' minds responded to an instinct as old as life. The Partners attacked, striking with a speed faster than Man's, going from attack to attack until the Rats or themselves were destroyed. Almost all the time, it was the Partners who won.

With the safety of the inter-stellar skip, skip, skip of the ships, commerce increased immensely, the population of all the colonies went up, and the demand for trained Partners increased.

Underhill and Woodley were a part of the third generation of pinlighters and yet, to them, it seemed as though their craft had endured forever.

Gearing space into minds by means of the pin-set, adding the Partners to those minds, keying up the mind for the tension of a fight on which all depended—this was more than human synapses could stand for long. Underhill needed his two months' rest after half an hour of fighting. Woodley needed his retirement after ten years of service. They were young. They were good. But they had limitations.

So much depended on the choice of Partners, so much on the sheer luck of who drew whom.

THE SHUFFLE

ather Moontree and the little girl named West entered the room. They were the other two pinlighters. The human complement of the Fighting Room was now complete.

Father Moontree was a red-faced man of forty-five who had lived the peaceful life of a farmer until he reached his fortieth year. Only then, belatedly, did the authorities find he was telepathic and agree to let him late in life enter upon the career of pinlighter. He did well at it, but he was fantastically old for this kind of business.

Father Moontree looked at the glum Woodley and the musing Underhill. "How're the youngsters today? Ready for a good fight?"

"Father always wants a fight," giggled the little girl named West. She was such a little little girl. Her giggle was high and childish. She looked like the last person in the world one would expect to find in the rough, sharp dueling of pinlighting.

Underhill had been amused one time when he found one of the most sluggish of the Partners coming away happy from contact with the mind of the girl named West.

Usually the Partners didn't care much about the human minds with which they were paired for the journey. The Partners seemed to take the attitude that human minds were complex and fouled up beyond belief, anyhow. No Partner ever questioned the superiority of the human mind, though very few of the Partners were much impressed by that superiority.

The Partners liked people. They were willing to fight with them. They were even willing to die for them. But when a Partner liked an individual the way, for example, that Captain Wow or the Lady May liked Underhill, the liking had nothing to do with intellect. It was a matter of temperament, of feel.

Underhill knew perfectly well that Captain Wow regarded his, Underhill's, brains as silly. What Captain Wow liked was Underhill's friendly emotional structure, the cheerfulness and glint of wicked amusement that shot through Underhill's unconscious thought patterns, and the gaiety with which Underhill faced danger. The words, the history books, the ideas, the science—Underhill could sense all that in his own mind, reflected back from Captain Wow's mind, as so much rubbish.

Miss West looked at Underhill. "I bet you've put stickum on the stones."

"I did not!"

Underhill felt his ears grow red with embarrassment. During his novitiate, he had tried to cheat in the lottery because he got particularly fond of a special Partner, a lovely young mother named Murr. It was so much easier to operate with Murr and she was so affectionate toward him that he forgot pinlighting was hard work and that he was not instructed to have a good time with his Partner. They were both designed and prepared to go into deadly battle together.

One cheating had been enough. They had found him out and he had been laughed at for years.

Father Moontree picked up the imitation-leather cup and shook the stone dice which assigned them their Partners for the trip. By senior rights, he took first draw.

e grimaced. He had drawn a greedy old character, a tough old male whose mind was full of slobbering thoughts of food, veritable oceans full of half-spoiled fish. Father Moontree had once said that he burped cod liver oil for weeks after drawing that particular glutton, so strongly had the telepathic image of fish impressed itself upon his mind. Yet the glutton was a glutton for danger as well as for fish. He had killed sixty-three Dragons, more than any other Partner in the service, and was quite literally worth his weight in gold.

The little girl West came next. She drew Captain Wow. When she saw who it was, she smiled.

"I like him," she said. "He's such fun to fight with. He feels so nice and cuddly in my mind."

"Cuddly, hell," said Woodley. "I've been in his mind, too. It's the most leering mind in this ship, bar none."

"Nasty man," said the little girl. She said it declaratively, without reproach.

Underhill, looking at her, shivered.

He didn't see how she could take Captain Wow so calmly. Captain Wow's mind did leer. When Captain Wow got excited in the middle of a battle, confused images of Dragons, deadly Rats, luscious beds, the smell of fish, and the shock of space all scrambled together in his mind as he and Captain Wow, their consciousnesses linked together through the pin-set, became a fantastic composite of human being and Persian cat.

That's the trouble with working with cats, thought Underhill. It's a pity that nothing else anywhere will serve as Partner. Cats were all right once you got in touch with them telepathically. They were smart enough to meet the needs of the fight, but their motives and desires were certainly different from those of humans.

They were companionable enough as long as you thought tangible images at them, but their minds just closed up and went to sleep when you recited Shakespeare or Colegrove, or if you tried to tell them what space was.

It was sort of funny realizing that the Partners who were so grim and mature out here in space were the same cute little animals that people had used as pets for thousands of years back on Earth. He had embarrassed himself more than once while on the ground saluting perfectly ordinary non-telepathic cats because he had forgotten for the moment that they were not Partners.

He picked up the cup and shook out his stone dice.

He was lucky—he drew the Lady May.

he Lady May was the most thoughtful Partner he had ever met. In her, the finely bred pedigree mind of a Persian cat had reached one of its highest peaks of development. She was more complex than any human woman, but the complexity was all one of emotions, memory, hope and discriminated experience—experience sorted through without benefit of words.

When he had first come into contact with her mind, he was astonished at its clarity. With her he remembered her kittenhood. He remembered every mating experience she had ever had. He saw in a half-recognizable gallery all the other pinlighters with whom she had been paired for the fight. And he saw himself radiant, cheerful and desirable.

He even thought he caught the edge of a longing—

A very flattering and yearning thought: What a pity he is not a cat.

Woodley picked up the last stone. He drew what he deserved—a sullen, scared old tomcat with none of the verve of Captain Wow. Woodley's Partner was the most animal of all the cats on the ship, a low, brutish type with a dull mind. Even telepathy had not refined his character. His ears were half chewed off from the first fights in which he had engaged.

He was a serviceable fighter, nothing more.

Woodley grunted.

Underhill glanced at him oddly. Didn't Woodley ever do anything but grunt?

Father Moontree looked at the other three. "You might as well get your Partners now. I'll let the Scanner know we're ready to go into the Up-and-Out."

THE DEAL

nderhill spun the combination lock on the Lady May's cage. He woke her gently and took her into his arms. She humped her back luxuriously, stretched her claws, started to purr, thought better of it, and licked him on the wrist instead. He did not have the pin-set on, so their minds were closed to each other, but in the angle of her mustache and in the movement of her ears, he caught some sense of gratification she experienced in finding him as her Partner.

He talked to her in human speech, even though speech meant nothing to a cat when the pin-set was not on.

"It's a damn shame, sending a sweet little thing like you whirling around in the coldness of nothing to hunt for Rats that are bigger and deadlier than all of us put together. You didn't ask for this kind of fight, did you?"

For answer, she licked his hand, purred, tickled his cheek with her long fluffy tail, turned around and faced him, golden eyes shining.

For a moment, they stared at each other, man squatting, cat standing erect on her hind legs, front claws digging into his knee. Human eyes and cat eyes looked across an immensity which no words could meet, but which affection spanned in a single glance.

"Time to get in," he said.

She walked docilely into her spheroid carrier. She climbed in. He saw to it that her miniature pin-set rested firmly and comfortably against the base of her brain. He made sure that her claws were padded so that she could not tear herself in the excitement of battle.

Softly he said to her, "Ready?"

For answer, she preened her back as much as her harness would permit and purred softly within the confines of the frame that held her.

He slapped down the lid and watched the sealant ooze around the seam. For a few hours, she was welded into her projectile until a workman with a short cutting arc would remove her after she had done her duty.

e picked up the entire projectile and slipped it into the ejection tube. He closed the door of the tube, spun the lock, seated himself in his chair, and put his own pin-set on.

Once again he flung the switch.

He sat in a small room, small, small, warm, warm, the bodies of the other three people moving close around him, the tangible lights in the ceiling bright and heavy against his closed eyelids.

As the pin-set warmed, the room fell away. The other people ceased to be people and became small glowing heaps of fire, embers, dark red fire, with the consciousness of life burning like old red coals in a country fireplace.

As the pin-set warmed a little more, he felt Earth just below him, felt the ship slipping away, felt the turning Moon as it swung on the far side of the world, felt the planets and the hot, clear goodness of the Sun which kept the Dragons so far from mankind's native ground.

Finally, he reached complete awareness.

He was telepathically alive to a range of millions of miles. He felt the dust which he had noticed earlier high above the ecliptic. With a thrill of warmth and tenderness, he felt the consciousness of the Lady May pouring over into his own. Her consciousness was as gentle and clear and yet sharp to the taste of his mind as if it were scented oil. It felt relaxing and reassuring. He could sense her welcome of him. It was scarcely a thought, just a raw emotion of greeting.

At last they were one again.

In a tiny remote corner of his mind, as tiny as the smallest toy he had ever seen in his childhood, he was still aware of the room and the ship, and of Father Moontree picking up a telephone and speaking to a Scanner captain in charge of the ship.

His telepathic mind caught the idea long before his ears could frame the words. The actual sound followed the idea the way that thunder on an ocean beach follows the lightning inward from far out over the seas.

"The Fighting Room is ready. Clear to planoform, sir."

THE PLAY

nderhill was always a little exasperated the way that Lady May experienced things before he did.

He was braced for the quick vinegar thrill of planoforming, but he caught her report of it before his own nerves could register what happened.

Earth had fallen so far away that he groped for several milliseconds before he found the Sun in the upper rear right-hand corner of his telepathic mind.

That was a good jump, he thought. This way we'll get there in four or five skips.

A few hundred miles outside the ship, the Lady May thought back at him, "O warm, O generous, O gigantic man! O brave, O friendly, O tender and huge Partner! O wonderful with you, with you so good, good, good, warm, warm, now to fight, now to go, good with you...."

He knew that she was not thinking words, that his mind took the clear amiable babble of her cat intellect and translated it into images which his own thinking could record and understand.

Neither one of them was absorbed in the game of mutual greetings. He reached out far beyond her range of perception to see if there was anything near the ship. It was funny how it was possible to do two things at once. He could scan space with his pin-set mind and yet at the same time catch a vagrant thought of hers, a lovely, affectionate thought about a son who had had a golden face and a chest covered with soft, incredibly downy white fur.

While he was still searching, he caught the warning from her.

We jump again!

And so they had. The ship had moved to a second planoform. The stars were different. The Sun was immeasurably far behind. Even the nearest stars were barely in contact. This was good Dragon country, this open, nasty, hollow kind of space. He reached farther, faster, sensing and looking for danger, ready to fling the Lady May at danger wherever he found it.

Terror blazed up in his mind, so sharp, so clear, that it came through as a physical wrench.

The little girl named West had found something—something immense, long, black, sharp, greedy, horrific. She flung Captain Wow at it.

Underhill tried to keep his own mind clear. "Watch out!" he shouted telepathically at the others, trying to move the Lady May around.

At one corner of the battle, he felt the lustful rage of Captain Wow as the big Persian tomcat detonated lights while he approached the streak of dust which threatened the ship and the people within.

The lights scored near-misses.

The dust flattened itself, changing from the shape of a sting-ray into the shape of a spear.

Not three milliseconds had elapsed.

Father Moontree was talking human words and was saying in a voice that moved like cold molasses out of a heavy jar, "C-A-P-T-A-I-N." Underhill knew that the sentence was going to be "Captain, move fast!"

The battle would be fought and finished before Father Moontree got through talking.

Now, fractions of a millisecond later, the Lady May was directly in line.

Here was where the skill and speed of the Partners came in. She could react faster than he. She could see the threat as an immense Rat coming direct at her.

She could fire the light-bombs with a discrimination which he might miss.

He was connected with her mind, but he could not follow it.

His consciousness absorbed the tearing wound inflicted by the alien enemy. It was like no wound on Earth—raw, crazy pain which started like a burn at his navel. He began to writhe in his chair.

Actually he had not yet had time to move a muscle when the Lady May struck back at their enemy.

Five evenly spaced photonuclear bombs blazed out across a hundred thousand miles.

The pain in his mind and body vanished.

He felt a moment of fierce, terrible, feral elation running through the mind of the Lady May as she finished her kill. It was always disappointing to the cats to find out that their enemies whom they sensed as gigantic space Rats disappeared at the moment of destruction.

Then he felt her hurt, the pain and the fear that swept over both of them as the battle, quicker than the movement of an eyelid, had come and gone. In the same instant, there came the sharp and acid twinge of planoform.

Once more the ship went skip.

He could hear Woodley thinking at him. "You don't have to bother much. This old son of a gun and I will take over for a while."

Twice again the twinge, the skip.

He had no idea where he was until the lights of the Caledonia space board shone below.

With a weariness that lay almost beyond the limits of thought, he threw his mind back into rapport with the pin-set, fixing the Lady May's projectile gently and neatly in its launching tube.

She was half dead with fatigue, but he could feel the beat of her heart, could listen to her panting, and he grasped the grateful edge of a thanks reaching from her mind to his.

THE SCORE

hey put him in the hospital at Caledonia.

The doctor was friendly but firm. "You actually got touched by that Dragon. That's as close a shave as I've ever seen. It's all so quick that it'll be a long time before we know what happened scientifically, but I suppose you'd be ready for the insane asylum now if the contact had lasted several tenths of a millisecond longer. What kind of cat did you have out in front of you?"

Underhill felt the words coming out of him slowly. Words were such a lot of trouble compared with the speed and the joy of thinking, fast and sharp and clear, mind to mind! But words were all that could reach ordinary people like this doctor.

His mouth moved heavily as he articulated words, "Don't call our Partners cats. The right thing to call them is Partners. They fight for us in a team. You ought to know we call them Partners, not cats. How is mine?"

"I don't know," said the doctor contritely. "We'll find out for you. Meanwhile, old man, you take it easy. There's nothing but rest that can help you. Can you make yourself sleep, or would you like us to give you some kind of sedative?"

"I can sleep," said Underhill. "I just want to know about the Lady May."

The nurse joined in. She was a little antagonistic. "Don't you want to know about the other people?"

"They're okay," said Underhill. "I knew that before I came in here."

He stretched his arms and sighed and grinned at them. He could see they were relaxing and were beginning to treat him as a person instead of a patient.

"I'm all right," he said. "Just let me know when I can go see my Partner."

A new thought struck him. He looked wildly at the doctor. "They didn't send her off with the ship, did they?"

"I'll find out right away," said the doctor. He gave Underhill a reassuring squeeze of the shoulder and left the room.

The nurse took a napkin off a goblet of chilled fruit juice.

nderhill tried to smile at her. There seemed to be something wrong with the girl. He wished she would go away. First she had started to be friendly and now she was distant again. It's a nuisance being telepathic, he thought. You keep trying to reach even when you are not making contact.

Suddenly she swung around on him.

"You pinlighters! You and your damn cats!"

Just as she stamped out, he burst into her mind. He saw himself a radiant hero, clad in his smooth suede uniform, the pin-set crown shining like ancient royal jewels around his head. He saw his own face, handsome and masculine, shining out of her mind. He saw himself very far away and he saw himself as she hated him.

She hated him in the secrecy of her own mind. She hated him because he was—she thought—proud, and strange, and rich, better and more beautiful than people like her.

He cut off the sight of her mind and, as he buried his face in the pillow, he caught an image of the Lady May.

"She is a cat," he thought. "That's all she is—a cat!"

But that was not how his mind saw her—quick beyond all dreams of speed, sharp, clever, unbelievably graceful, beautiful, wordless and undemanding.

Where would he ever find a woman who could compare with her?

—CORDWAINER SMITH

*** END OF THE PROJECT GUTENBERG EBOOK THE GAME OF RAT AND DRAGON ***

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.

Table of Contents

The Game of Rat and Dragon

Illustrated by HUNTER

THE TABLE

THE SHUFFLE

THE DEAL

THE PLAY

THE SCORE

THE FULL PROJECT GUTENBERG LICENSE