100% found this document useful (3 votes)
39 views

Full State Phobia and Civil Society The Political Legacy of Michel Foucault Mitchell Dean PDF All Chapters

Michel

Uploaded by

bettevalour
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
100% found this document useful (3 votes)
39 views

Full State Phobia and Civil Society The Political Legacy of Michel Foucault Mitchell Dean PDF All Chapters

Michel

Uploaded by

bettevalour
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 62

Download the full version of the textbook now at textbookfull.

com

State Phobia and Civil Society The Political


Legacy of Michel Foucault Mitchell Dean

https://textbookfull.com/product/state-phobia-and-
civil-society-the-political-legacy-of-michel-
foucault-mitchell-dean/

Explore and download more textbook at https://textbookfull.com


Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

State Phobia And Civil Society The Political Legacy Of


Michel Foucault Mitchell Dean

https://textbookfull.com/product/state-phobia-and-civil-society-the-
political-legacy-of-michel-foucault-mitchell-dean-2/

textbookfull.com

Political Thinking Political Theory and Civil Society 5th


Edition Steven M Delue Timothy M Dale

https://textbookfull.com/product/political-thinking-political-theory-
and-civil-society-5th-edition-steven-m-delue-timothy-m-dale/

textbookfull.com

Michel Foucault and Sexualities and Genders in Education


Friendship as Ascesis David Lee Carlson

https://textbookfull.com/product/michel-foucault-and-sexualities-and-
genders-in-education-friendship-as-ascesis-david-lee-carlson/

textbookfull.com

Evidence Based Medicine How to Practice and Teach EBM


Sharon E. Straus Et Al.

https://textbookfull.com/product/evidence-based-medicine-how-to-
practice-and-teach-ebm-sharon-e-straus-et-al/

textbookfull.com
Chronological Developments Of Wireless Radio Systems
Before World War II Vinayak Laxman Patil

https://textbookfull.com/product/chronological-developments-of-
wireless-radio-systems-before-world-war-ii-vinayak-laxman-patil/

textbookfull.com

Nonlinear control systems using MATLAB First Edition


Boufadene

https://textbookfull.com/product/nonlinear-control-systems-using-
matlab-first-edition-boufadene/

textbookfull.com

A course in abstract algebra Nicholas Jackson

https://textbookfull.com/product/a-course-in-abstract-algebra-
nicholas-jackson/

textbookfull.com

Synthetic Biology – Metabolic Engineering 1st Edition


Huimin Zhao

https://textbookfull.com/product/synthetic-biology-metabolic-
engineering-1st-edition-huimin-zhao/

textbookfull.com

Psychiatry : a comprehensive board review 1 Pck Pap


Edition Rajesh Tampi

https://textbookfull.com/product/psychiatry-a-comprehensive-board-
review-1-pck-pap-edition-rajesh-tampi/

textbookfull.com
Settle the Score: The Law Trilogy: After the Law, Book One
1st Edition Haven Rose [Rose

https://textbookfull.com/product/settle-the-score-the-law-trilogy-
after-the-law-book-one-1st-edition-haven-rose-rose/

textbookfull.com
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
Random documents with unrelated
content Scribd suggests to you:
The Project Gutenberg eBook of An eye for the
ladies
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: An eye for the ladies

Author: Stephen Marlowe

Illustrator: Llewellyn

Release date: April 29, 2024 [eBook #73496]

Language: English

Original publication: New York, NY: Ziff-Davis Publishing Company,


1956

Credits: Greg Weeks, Mary Meehan and the Online Distributed


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

*** START OF THE PROJECT GUTENBERG EBOOK AN EYE FOR THE


LADIES ***
You're a detective and you
have an assignment to find a
client's wife. This good-time
gal has found herself a nicer
body and is masquerading as
some other fellow's wife. So
how can you find her? Simple.
You get into one male body
after another and become a
different girl's husband each
night. And you're determined
to find her even if you have to
be every woman's husband to
do it! A dull assignment? If
you think so, read—

AN EYE FOR THE LADIES

By DARIUS JOHN GRANGER

[Transcriber's Note: This etext was produced from


Fantastic October 1956.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
He was a plump fellow in about the approximate dimensions of a
penguin, and as stiffly dressed. Since I'd been an insurance
investigator last week but had become a private detective this, and
since he was my first potential case, I was needless to say
interested.
"It's my wife," he said.
"Your wife," I repeated, searching for but not finding some of the
sharp P.I. dialogue I'd read in the books by Chandler, Evans,
Marlowe and others.
"You see, we're tourists from another planet. My name is Xlptl."
I just sat there.
"Mrs. Xlptl is missing."
"Ah," I said, leaning forward. This was something I could
understand. Maybe I had heard him wrong about that name.
"Missing how?" I asked.
"Mrs. Xlptl," said my potential client, "failed to re-transmigrate."
"To do which?"
"Re-transmigrate. To get out of her Earth body after touring Earth."
A nut, I thought. Your first case, Brody, and he's a nut. Ah, well,
there goes the retainer. But you might as well humor him. "And did
you," I said, "ah, get out of your Earth body?"
"Goodness, yes," said Mr. Xlptl promptly, removing his jacket. "You
never saw an Earthman without shoulders, did you?"
He wasn't kidding. I gawked until he put the jacket back on. His
neck slanted down gradually, widening as it went, to the broad
waist. He had no shoulders to speak of. No wonder he looked like a
penguin.
"You see," he said in a confidential voice while I continued to gawk,
"Mrs. Xlptl thinks she doesn't want to transmigrate back. She thinks
she wants to go on being an Earthwoman. Naturally she's wrong.
Naturally we ought to go home. Na—"
"Home where?"
"It's a star you can't even see with your biggest telescopes," said Mr.
Xlptl, waving his hand deprecatingly. "I want you to find her and
bring her back to me. I can make her see the error of her ways and
re-transmigrate."
I wondered how you went about finding an un-retransmigrated Mrs.
Xlptl, but before I could open my mouth and say something bright,
Mr. Xlptl told me: "You see, she disappeared in a busload of
honeymooning brides who had been on a quiz program which each
week interviews and gives prizes to the half dozen or so prettiest
new brides they can find. Now, as the expression goes, the
honeymoon is over and each bride has gone home. I have all their
addresses. Mrs. Xlptl is hiding in one of their bodies. I'd go and find
her myself by transmigrating into the bodies of the respective
husbands until I ran across her, but I find an Earth body somewhat
uncomfortable and I'm willing to give you fifty dollars a day and
expenses for your services if you'll do the job for me, locate her, and
bring her back. Is that satisfactory?"
"You mean, I'll transmigrate? I'll get into the bodies of those six
husbands of those six pretty new brides—like the husbands were
suits of clothing or something?" Humor him, Brody. He's nuts.

"Exactly, Mr. Brody. You will do it?"


I nodded. Mr. Xlptl gave me a check. I decided in advance that it
would make like a rubber ball, but I put it in the middle drawer of
the desk, anyhow. I reached into the bottle drawer and took out the
office bottle. "Have one?" I said.
"Alcohol?" asked Mr. Xlptl in horror. "To me alcohol is extremely
toxic."
"Maybe," I said, "you got something there." But I took a small one
anyhow and when I looked up there was a sheet of paper with a list
of names and addresses on the desk.
"Take them one at a time," Mr. Xlptl told me. "Just think about the
name and you'll transmigrate. I've already given you the power."
"You have?"
He assured me he had. That was when I blinked my eyes. It was a
mistake. Because when I opened them, Mr. Xlptl had disappeared.
He didn't walk out of the little office. He didn't jump from the
window. The door and the window were both closed. Mr. Xlptl simply
vanished.

I took another drink. It was some kind of trick. An optical illusion or


something. I thought over what Mr. Xlptl wanted me to do. Six pretty
new brides. Me. Jack Brody, their collective husbands. I whistled.
Well, that was what a private eye dreamed about in all the shamus
books—unlimited access to beautiful womens' boudoirs. I sighed. If
only that Xlptl wasn't a nut, I thought. If only what he told me was
possible. If only....
I sighed again. Better call up one of the dames from your little black
book, Brody. No use sighing over what can never be. But
automatically I looked down at the list. Study the first name, Xlptl
had said. I smiled at my own amazing credulity. Well, chalk it up to
wishful thinking.
The first name was Mrs. Hal Drummond (nee Janet Dawes). I
thought of the Drummonds and their address, which was in San
Francisco, almost three thousand miles from here.
Something buzzed in my ears.
Louder and louder.

The buzzing became a hissing sound. I couldn't place it at first. Then


I realized it was the sound a shower makes in the next room. I
looked around. A second ago I'd been in my office, in New York.
Now I was sitting on a bed. There was a newspaper alongside me. I
did a double-take. It was the San Francisco Chronicle.
A gag, I thought. It had to be a gag. I got up. I was wearing a
bathrobe and slippers. I passed a dresser with a mirror on top. This
time I gaped. There was a tall, dark guy standing there in the mirror,
staring back at me. I had nothing against him.
Only, he wasn't Jack Brody. That is, he was me—but I wasn't who I'd
been a couple of seconds ago.
I felt weak. I sat down on the bed again. There were two doors in
the room, besides the closets. One led out to a hallway. The other
was closed. From behind it came the hissing of a shower. Suddenly a
girl started to sing in there. She had a nice voice. She was singing
about all the ways she loved me.
There was a picture on the dresser, one of those cardboard backed
wedding souvenirs. The girl I was leading from the wedding
ceremony was a lovely-looking blonde.
The singing stopped. The girl called: "Hal. Hal, honey! Will you come
in and scrub my back please?"
I looked in the mirror. The guy looking back at me had a very pale
face. He'd been tan a moment ago. My mind was whirling with
happy but stage-struck thoughts. Just like Don Juan, I thought. Only
Don Juan had to go out over balconies and things. Me—I could get
away with it.
"Come on, Hal, honey," the girl called again. I headed for the
bathroom door. Well, I'd been invited, hadn't I?
I opened the door. The hissing became louder. There was a lot of
steam in the room from the hot shower. The shower stall had one of
those translucent glass doors. I could see her through it. She was a
tall, statuesque blonde with her hair cut so short she could be in
there in the shower without worrying about a shower cap. She was
long and tan and pink and delightful.
She slid the shower door back with a wet hand. I got splashed.
She said, "The robe, silly."

I stood there gawking. Finally I got the idea. She didn't want me to
get all wet. Or, she didn't want my robe to get all wet. She wanted
her lovely back scrubbed. Or maybe we could do some mutual
scrubbing. She wanted me there in the shower with her.
I began to take the robe off. She smiled at me through the half-open
sliding door of the shower. She glistened with water. She looked all
tan and silvery and sleek, sleek as if she were made out of tight-
stretched leather.
And then chimes rang. We both heard them. She looked at me and
sighed. I looked back at her. I hoped it wasn't too obvious. I hoped
my tongue was between my lips and back a bit. She smiled and
leaned against me and gave me a shower-water-wet and playful
kiss. "Oh, well, darling," she said, as if we could do later whatever
we hadn't had a chance to do now. "I guess that must be the
Fosters. I guess they're early. Better get the door. I guess I'll have to
scrub my own back."
The shower door slid shut.
I remembered Mr. Xlptl and his mission. There was no doubt about it
now, it was going to work out exactly as Mr. Xlptl said it would work
out. He'd given me the power, all right. I said: "Janet, there's only
one thing."
"What?" she shouted over the hiss and roar of the shower.
The chimes sounded again.
"Mrs. Xlptl," I said in a loud voice.
"What was that? What did you say?"
"Mrs. Xlptl," I repeated.
"Why, what a funny name!" she cried with a little laugh.
"Name?" I said, clearing my throat. "I was only clearing my throat."
No doubt of it, Mrs. Xlptl wasn't hiding here.
I went into the bedroom and through it to the hallway. The chimes
sounded a third time. To hell with this Hal Drummond guy, I
thought. Let him let in his own Fosters. I had a moment of panic,
but found the list of names in a pocket of my-Hal-Drummond
bathrobe. I studied the second name and address on the list.
Chicago, Illinois. Mrs. Dan Carboy (nee Dawn Daring). The address
was, Club Chuckle. Dawn Daring, I decided, was in show-biz. This
sounded like fun. I thought of the name.
And buzzed out of there just as the bewildered Hal Drummond
reached the door....

I was dancing with a medium tall redhead whose wonderfully supple


figure was all but glued to me. I looked down at her face. She
looked up at mine. Her own face was pretty and heavily war-painted,
so it would look good behind a baby-spot. She was in show-biz, all
right.
We danced slowly to music I hardly heard. Every now and then she
leaned up and kissed the side of my chin with her red, red lips.
"If you really want me to quit, Dan," she said.
"No, that's all right," I said automatically.
"But you just a minute ago said you wanted me to quit show-biz and
settle down to being your wife."
"Oh, did I?" I said.
"Of course you did," she said, slightly exasperated. I felt her move
away from me an inch or so. It made a lot of difference. They broke
into a mambo suddenly. We both could mambo very well. That
meant something. It meant more confirmation of Mr. Xlptl, because
Jack Brody, private eye, didn't know a mambo from a mango.
"When do you go on?" I said.
"You know when. In half an hour."
I looked down at her. Would Dan Carboy kiss his wife now? Probably,
I thought. This version of Dan Carboy would only if he thought the
real Carboy would. I waited for her to make some kind of a gesture,
to take the play away from me. We just danced. Then the music
stopped and we went to our table where drinks were waiting. Mine
was a martini. From the color, it looked very dry. And it was.
"Xlptl," I said.
"What?" She'd heard me. She didn't understand. Her face showed
absolutely nothing.
She obviously wasn't Mrs. Xlptl. "Hiccup," I said, searching
surreptitiously through my suit-jacket pockets for the list of names.
She smiled at me. I smiled at her. I couldn't find the list. I didn't
want to make it obvious, so I didn't go digging down into my pants
pockets. That could wait for when she went on. What did she do? I
wondered. Sing? Play the piano maybe? Her gown told me nothing.
It was long and sheath-like, in a bright scarlet which almost matched
her hair in the dim lighting.

Finally there was a fan-fare. She patted my hand. "Maybe you're


right, Dan," she said, getting up. "Maybe after this month I will quit."
There was a round of polite applause. Dawn drifted over to a little
stage and swayed herself onto it. The music began and the applause
increased. Dawn smiled. The room went dark.

The smile she gave him was the one she reserved for her
husband.

Dawn found a zipper somewhere and did with zippers what you will
do with them when they are closed. Down went Dawn's robe. What
she was wearing underneath was exactly what a stripper will wear
under her sheath-like outer garment.
Spangles and tassles flashed in the light of the spot. Dawn danced.
A spangle here and a tassel there was removed. There was more
applause. I blushed for Dan Carboy. Dan could take it from there. I
dove into my pants pockets and found the list of names. The next
one was Mrs. Angel Martell, (nee Sally Benton), with an address in
Philly. I looked up. Dawn was down to red hair, skin and a G-string. I
thought of Mrs. Martell.

"Angel!" she coo'd. "You're so stro-ong!"


She was a real tiny thing, but pretty. I sat in a room with lockers and
a rubdown table. I was wearing trunks and a robe. I looked at my
hands. They weren't taped. Either Angel Martell was a boxer with
considerable time to go as yet before he was on, or he was a
wrestler. I shuddered. I didn't know one damn thing about boxing or
wrestling. Street fighting, yeah—but how the hell would street
fighting help me here?
"Quit showing your muscles off to the little woman," a voice said.
The voice belonged to a tired-looking little man with glasses.
I said, "Sure."
Little Sally pouted. "In fact, Mrs. Martell," the tired-looking fellow
told her, "it might be better if you find your seat out front now and
wait for it to get underway. You're liable to make Angel nervous in
here."
"Well, if you say so," she said doubtfully but timidly. She went to the
door.
"Wait!" I called. I was going to ask her about Xlptl.
"Wait, nothing!" the man who must have been my manager said.
"Out she goes."
The door closed behind Sally. I shuddered. I had to find out about
Xlptl before I could leave her. Which meant I had to go through with
whatever was waiting for me in the arena.
After a while my manager came over and taped my fists. So it was
boxing, I thought. That was worse even than wrestling. In wrestling
there was a script, and the participants followed it. In boxing I could
—and probably would—get my head handed to me.
We went upstairs. The manager, still looking tired, didn't say a word.
The arena was small, noisy, and smoke-filled. The ring seemed very
close. Too close. We reached it too soon. I climbed through the
ropes awkwardly, almost stumbling and falling across the ring.
Someone hooted.
The other guy was already there, dancing in the resin corner. He
looked very big and menacing. He was already wearing his gloves.
My gloves were put on. There was a bell and some fighters in street
clothes were trotted out to show off their padded muscles. There
was another bell. I was sitting on a stool. A spotlight found me and
my manager shoved me to my feet. I lumbered to the center of the
ring and heard a booming voice declaim:
"In this corner, that ever-popular slugger from the Bronx, New York,
weighing two hundred and five pounds and undefeated in his last six
thrilling contests with a record of fifteen knockouts in the last two
years, Angel Martell!"
There was polite applause. I drifted back to my corner. I wondered
where Sally was sitting. If I could just ask her about Xlptl before this
thing got started.... But I couldn't see her out there any place. The
announcer continued.
"... this corner, the undefeated heavyweight from our own
Philadelphia, Pennsylvania, who has knocked out all but two of his
opponents in twenty-one stellar clashes here in this arena and
elsewhere, Mickey Magoon!"
Magoon came out looking flashy and dancing and raising one hand
in the victory sign. I looked around desperately for Sally. Maybe I'd
seen her, I thought, shuddering. Maybe I'd forgotten what she
looked like.
The referee gave us our instructions. We went back to our corners.
A whistle sounded. My manager rubbed my back. A bell clanged and
something propelled me toward the charging Magoon.
I put up my hands. Magoon danced around me cautiously. He
jabbed and it didn't look like much but my head went shooting back
and something made a noise in my neck. He jabbed again. He
jabbed a third time. Then the jabs got blurry. I thought they would
take my head clean off.
I clinched. The referee got us apart. Magoon came after me with
that jab. I swung my left and right, but Magoon picked them off in
air. I couldn't win and I knew it. I didn't have a chance. I wondered
how long it would take before Magoon knew that too. Magoon was a
pro. Once he learned it he wouldn't waste any time with caution. He
would come in and cut me to ribbons. I'd be all right if I could keep
him cautious, respectful, until I could find out what I had to about
Sally and then look at the next address and give Angel Martell back
his body....

The next address!


But the list wasn't here! How could the list be in my boxer shorts?
The bathrobe? I wondered. I turned around to look at my corner.
Something clobbered my head and the next thing I knew I was on
my face on the canvas. There was a sound of thudding feet and a
roar and then someone began to count. At five I got up to one knee.
Magoon was in one corner, a neutral corner, banging his gloves
together eagerly.
"Seven, eight...."
I got up. The crowd was very quiet. They sensed the kill now and
were waiting for it. The referee rubbed my resin-powdered gloves
against his shirt-front, then Magoon came tearing across the ring
toward me. I backed into my own corner, then sidestepped
desperately as Magoon came at me. He went by and whirled and we
clinched and I saw my manager's face down there behind him and I
opened my mouth to say, "Where's my bathrobe? See what you can
find in the pockets, for gosh sakes!" But it came out all mumbled. I'd
forgotten I was wearing the big, clumsy mouthpiece to protect my
teeth.
Magoon swung at me. Somehow I eluded that blow. Maybe it was a
reflex action on the part of Angel Martell's trained body. Magoon
swung again. I walked into a clinch and he pounded my back and
kidneys before the referee broke us apart. Magoon gave me a
peculiar look then. I didn't understand the look. But I would soon.
He hit me in the chest. It wasn't much of a blow, and I countered
with a flurry of lefts and rights. Magoon retreated. This surprised the
hell out of me. I hooked my left and crossed my right and Magoon's
knees wobbled. I hit him again and he bounced against the ropes.
He came off them with a look of hate and rage in his eyes. He
swung wildly three times with his right. The third one caught me
flush in the mouth and I fell down, sprawling toward my own corner.
I spit out the damn mouthpiece. The referee began to count.
"My robe!" I hollered to the manager. "Look in the pockets."
"You bum," he said.
"Huh?"
"You bum."
"Six, seven, eight, nine...."
I got to my feet. The bell rang before me and Magoon could get
together again. I went to my corner. Suddenly behind my manager I
saw Sally's worried face.
"You all right, honey?" she asked as I sat down. Someone squeezed
a sponge of ice-cold water over my head. It made me shiver.
Something was passed under my nose with a strong smell. I
gagged.
"You rat," said the manager. "You want to get us all killed?"
"What the devil's eating you?" I asked. I was taking the punishment
out there, not him.
"Ha, ha, ha," he said.
"No. Tell me."
"Tell you. You know damn well you was supposed to go into the
tank, to take a dive in the very first round. We got paid for it. We're
gonna get paid a different way now, boy."
"Are you all right?" Sally asked.
"Mrs. Xlptl," I said in a low voice. I never thought it would be Sally.
But she whimpered: "Oh, you found me! You found me...." She
sounded at once excited and disappointed.
"I'm not your husband," I said. "But I'm taking you back to him."
"I don't want to go back."
"Think about it. You ought to go back. He wants you back."
"What are you two talking about?" the manager shouted.

"I don't know what to say," Mrs. Xlptl told me.


"It's happened before, hasn't it? But you always went back."
"That's true. I—I—well, I guess you're right."
Just then the warning whistle sounded. I looked across the ring at
Magoon. The manager said: "At least dive in this round, you louse.
Maybe they'll only let us off with a warning."
I didn't say anything. A fixed fight, I thought. I felt pretty good now,
as if the tricks learned by Martell had gone into the storehouse of his
muscular knowledge, along with walking and running and talking
and how to hold a spoon, and were coming out now for my own
use.
"Don't forget," the manager pleaded. "You promised before the fight.
Gee, this wouldn't be the first one you dumped for money."
Martell, I thought. You're some athlete. Suddenly I didn't like the
body I was occupying. But I liked the man across the ring even less.
It was a fast and furious round. Magoon came out swinging from the
bell. I felt my legs go wobbly. I was driven back into the ropes. I
took a lot of punishment around the head and upper body. Then
Magoon shifted his attack to the waist. I came in over it with a flurry
of my own at his face. He backed up. I followed him. He caught me
with a looping right coming in and I went down to one knee. I
rested there, taking a count of nine. I felt almost like a pro now. And
if this Magoon had an unblemished record, I found myself thinking
quite calmly, it was because other guys had gone into the tank for
him. Oh, he was competent enough, but he wasn't another
Marciano. Or even close.
I got up at nine. Magoon thought he had me. He came in with his
hands low, ready to bring them up from his belt and finish me. The
crowd was silent, waiting. I blocked a vicious right cross with my left
glove. I swung my own right and it hit Magoon below the ear. I
hooked my left at his other cheek. I brought the left down low,
striking just under Magoon's heart. He spit his mouthpiece out. I
hooked my left again and crossed my right. He swung back at me
feebly. The crowd was roaring. I brought my right uppercutting at
his jaw. His feet left the canvas and his whole body sank down on it,
not falling, but slowly as if it were being lowered on strings.
He was counted out. The crowd screamed. The tired-looking
manager held up my hand. He said nothing. We went back to the
dressing room through throngs of well-wishers. They let little Sally
come with us.
The door of the dressing room closed behind us. Two grim-looking
characters were in there. They jerked their thumbs toward the door
as if they were a team. The manager gulped and got out. I looked at
Sally. Sally looked at me.
"You crossed us, Angel," one of the men said.
Martell had crossed them, all right. I could get out of this and leave
Martell to take his medicine. But they'd beat him to a pulp before he
knew what was happening. He was a rat, I thought, and he
deserved what he got, but the least I could do was give him a little
head start. Then he could take it from there.
They came at me with blackjacks. Sally screamed. I brought up my
forearm and one of the blackjacks blurred down toward it. My arm
went numb. There was no pain. It just went suddenly dead.
The second blackjack numbed my other arm. They were very good
at it, all right. They knew where to strike. I was a boxer without any
arms to use....
A blackjack came down. I bobbed out of the way. The other guy was
behind me, raising his own blackjack. The first one hit him
accidentally, crushing his shoulder. He screamed. I butted my head
at the guy in front of me. It took the wind out of him. As he slumped
I leaned over him and brought up my knee and it made a loud
clicking sound as it struck his jaw and drove his teeth together. He
fell down and he lay there.
The second guy was better now. He came at me with the blackjack.
I backed off toward the rubdown table. My arms were beginning to
tingle. I thought I might be able to use them if I had to. I leaned
back on the rubdown table getting set to meet the blow. He lunged
at me and I brought up my foot, smashing it against his chest. He
staggered back. Sally stood to one side, her face white, her hand at
her throat.
I followed the guy with the blackjack. He swung at me. He looked
scared now. I ducked inside the blow and brought up my tingling
right fist in a short, chopping blow. It threw his head back. He
turned with a little whimper and got the hell out of there. His friend
was still unconscious.
"Well, Mrs. Xlptl," I said, "shall we go?"
"I—I guess so. You were so strong! Even stronger than the real
Martell. You were wonderful, really you were." She was small but
very pretty. She had a funny look in her eyes. "That's what I like
about Earthmen," she said. "They're so strong. They're so virile...."
She took my hand. We concentrated on getting out of there.

When I saw Mrs. Xlptl again, she wasn't little Sally. She was a
shoulderless almost-human, penguin-like creature from somewhere.
"So strong, so virile ..." she said again. That look was in her new
eyes.
It was a living room. I wished to hell Xlptl would come. I didn't like
that look. I knew what she wanted. I wasn't buying now. I'd had
enough for one day with almost scrubbing beautiful backs and
watching strippers perform and almost getting clobbered and then
having Mrs. Xlptl look at me that way, her eyes saying she wanted
one final fling on Earth, in the person of a private eye named Brody.
And she wasn't going to give up easily. She moved toward me, then
stopped and looked down at herself. "It wouldn't be much fun with
this—me—" She made a hopeless gesture.
I wanted to be polite. "But it was fun while it lasted."
"Yes. Maybe there's some way we could do it again—just once more
before I go back—"
Her offer was tempting. I had to admit that. But things were
different now. What was over was over and she had to understand.
"No—no," I said. "You'll be happy back where you belong."
Her eyes flashed anger. "I belong here! With you! We can do it
again!"
"Xlptl!" I called. "Hey, Xl—"
He came in. He went over to his wife. She sighed, looking
disappointed.
"You're going back now?" I asked Xlptl as he paid me.
"Yes. And I have a souvenir."
I went outside. In the hall were two valises and something else. Xlptl
had the right idea. He'd be able to keep his wife happy at home
henceforth.
The something else was a set of barbells.
THE END
*** END OF THE PROJECT GUTENBERG EBOOK AN EYE FOR THE
LADIES ***

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

You might also like