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59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page v

Beginning
Web Programming with
HTML, XHTML, and CSS

Second Edition

Jon Duckett
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page iv
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page i

Beginning Web Programming with

HTML, XHTML, and CSS
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii
Chapter 1: Creating Structured Documents . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 2: Links and Navigation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Chapter 3: Images and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Chapter 4: Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Chapter 5: Forms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Chapter 6: Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Chapter 7: Cascading Style Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Chapter 8: More Cascading Style Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Chapter 9: Page Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Chapter 10: Design Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Chapter 11: Learning JavaScript. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Chapter 12: Working with JavaScript . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Chapter 13: Putting Your Site on the Web . . . . . . . . . . . . . . . . . . . . . . . . . 501
Appendix A: Answers to Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Appendix B: XHTML Element Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Appendix C: CSS Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Appendix D: Color Names and Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Appendix E: Character Encodings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Appendix F: Special Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Appendix G: Language Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Appendix H: MIME Media Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Appendix I: Deprecated and Browser-Specific Markup. . . . . . . . . . . . . . . . . 681
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page ii
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Beginning
Web Programming with
HTML, XHTML, and CSS

Second Edition
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page iv
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page v

Beginning
Web Programming with
HTML, XHTML, and CSS

Second Edition

Jon Duckett
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page vi

Beginning Web Programming

with HTML, XHTML, and CSS, Second Edition
Published by
Wiley Publishing, Inc.
10475 Crosspoint Boulevard
Indianapolis, IN 46256
www.wiley.com
Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana
ISBN: 978-0-470-25931-3
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by
any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted
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Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or war-
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be available in electronic books.
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page vii

About the Author

Jon Duckett published his first web site in 1996 while studying for a BSc (Hons) in Psychology at Brunel
University, London. Since then, he has helped create a wide variety of web sites for companies of all
sizes. He has also co-written more than ten programming-related books on topics from ASP to XML (via
many other letters of the alphabet), covering diverse aspects of web programming including design,
architecture, and coding.

About the Technical Editor

Ben Schupak holds a master’s degree in computer science and has more than nine years of professional
programming experience for large corporations and U.S. federal departments. He lives in the New York
metro area and enjoys traveling.
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page viii
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page ix

Credits
Acquisitions Editor Vice President and Executive Group Publisher
Jennifer Watson Richard Swadley

Development Editor Vice President and Executive Publisher

William Bridges Joseph B. Wikert

Technical Editor Project Coordinator, Cover

Benjamin Schupak Lynsey Stanford

Production Editor Compositor

Christine O’Connor Simmy Cover, Happenstance Type-O-Rama

Copy Editor Proofreader

Nancy Rapoport Christopher Jones

Editorial Manager Indexer

Mary Beth Wakefield Johnna VanHoose Dinse

Production Manager
Tim Tate
59313ffirs.qxd:WroxPro 3/22/08 2:30 PM Page x
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xi

Contents

Introduction xxiii

Chapter 1: Creating Structured Documents 1

A Web of Structured Documents 1
Introducing XHTML 2
Core Elements and Attributes 9
The <html> Element 9
The <head> Element 10
The <title> Element 11
The <body> Element 11
Attribute Groups 12
Core Attributes 12
Internationalization 14
UI Events 15
Basic Text Formatting 16
White Space and Flow 17
Creating Headings Using hn Elements 18
Creating Paragraphs Using the <p> Element 21
Creating Line Breaks Using the <br /> Element 21
Creating Preformatted Text Using the <pre> Element 22
Presentational Elements 26
The <b> Element 26
The <i> Element 26
The <u> Element (deprecated) 27
The <s> and <strike> Elements (deprecated) 27
The <tt> Element 27
The <sup> Element 28
The <sub> Element 28
The <big> Element 28
The <small> Element 28
The <hr /> Element 28
Phrase Elements 29
The <em> Element Adds Emphasis 30
The <strong> Element Adds Strong Emphasis 30
The <abbr> Element Is for Abbreviations 31
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xii

Contents
The <acronym> Element Is for Acronym Use 31
The <dfn> Element Is for Special Terms 32
The <blockquote> Element Is for Quoting Text 32
The <q> Element Is for Short Quotations 33
The <cite> Element Is for Citations 33
The <code> Element Is for Code 34
The <kbd> Element Is for Text Typed on a Keyboard 34
The <var> Element Is for Programming Variables 35
The <samp> Element Is for a Program Output 35
The <address> Element Is for Addresses 36
Lists 36
Using the <ul> Element to Create Unordered Lists 36
Ordered Lists 37
Definition Lists 39
Nesting Lists 40
How It Works 43
Editing Text 45
Using <ins> to Indicate New Additions to Text 46
Using <del> to Indicate Deleted Text 46
Using Character Entities for Special Characters 47
Comments 47
The <font> Element (deprecated) 48
Understanding Block and Inline Elements 48
Grouping Elements with <div> and <span> 49
Summary 50
Exercises 51

Chapter 2: Links and Navigation 53

Basic Links 54
Linking to Other Documents 54
Linking to E-mail Addresses 56
Understanding Directories and Directory Structures 57
What Are You Linking To? 58
What a URL Is Made Up Of 59
Absolute and Relative URLs 61
The <base> Element 64
Creating Links with the <a> Element 65
Creating a Source Anchor with the href Attribute 65
Creating a Destination Anchor Using the name and id Attributes
(linking to a specific part of a page) 66

xii
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xiii

Contents
Advanced E-mail Links 74
Summary 75
Exercises 76

Chapter 3: Images and Objects 77

Adding Images to Your Site 77
Types of Image Formats 78
Bitmap Images 78
Vector Images 85
Adding Images Using the <img> Element 86
Adding Other Objects with the <object> Element 93
The <object> Element’s Attributes 94
The <param> Element 97
Adding a Flash Movie To A Page 98
Using Images as Links 99
Image Maps 100
Server-Side Image Maps 101
Client-Side Image Maps 102
Summary 105
Exercises 106

Chapter 4: Tables 109

Introducing Tables 109
Basic Table Elements and Attributes 112
The <table> Element Creates a Table 113
The <tr> Element Contains Table Rows 117
The <td> and <th> Elements Represent Table Cells 119
Advanced Tables 125
Splitting Up Tables Using a Head, Body, and Foot 125
Adding a <caption> to a Table 128
Spanning Columns Using the colspan Attribute 128
Spanning Rows Using the rowspan Attribute 129
Grouping Columns Using the <colgroup> Element 130
Columns Sharing Styles Using the <col> Element 132
Accessibility Issues with Tables 132
How Tables Linearize 132
Linearization of Tables Used for Layout 133
Linearization of Tables Used for Data 135
Summary 136
Exercises 136

xiii
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xiv

Contents
Chapter 5: Forms 139
Introducing Forms 140
Creating a Form with the <form> Element 141
The action Attribute 142
The method Attribute 142
The id Attribute 142
The name Attribute (deprecated) 142
The onsubmit Attribute 143
The onreset Attribute 143
The enctype Attribute 144
The accept-charset Attribute 144
The accept Attribute 144
The target Attribute 145
White Space and the <form> Element 145
Form Controls 145
Text Inputs 145
Buttons 150
Checkboxes 154
Radio Buttons 156
Select Boxes 158
File Select Boxes 164
Hidden Controls 165
Object Controls 166
Creating Labels for Controls and the <label> Element 169
Structuring Your Forms with <fieldset> and <legend> Elements 171
Focus 173
Tabbing Order 173
Access Keys 175
Disabled and Read-Only Controls 176
Sending Form Data to the Server 178
HTTP get 178
HTTP post 179
Summary 183
Exercises 183

Chapter 6: Frames 185

Introducing the Frameset 185
When to Use Frames 188
The <frameset> Element 189
The cols Attribute 189
The rows Attribute 191

xiv
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Contents
Browser-Specific Extensions to the <frameset> Element 192
The <frame> Element 194
The src Attribute 195
The name Attribute 195
The frameborder Attribute 195
The marginwidth and marginheight Attributes 196
The noresize Attribute 196
The scrolling Attribute 196
The longdesc Attribute 197
The <noframes> Element 197
Creating Links Between Frames 198
Setting a Default Target Frame Using the <base> Element 200
Nested Framesets 200
Floating or Inline Frames with <iframe> 204
The <iframe> Element 206
Summary 209
Exercises 209

Chapter 7: Cascading Style Sheets 211

Introducing CSS 212
A Basic Example 213
Inheritance 216
Where You Can Add CSS Rules 217
The <link> Element 218
The <style> Element 220
Advantages of External CSS Style Sheets 220
CSS Properties 221
Controlling Fonts 223
The font-family Property 224
The font-size Property 226
The font-weight Property 227
The font-style Property 228
The font-variant Property 229
The font-stretch Property 230
The font-size-adjust Property 230
Text Formatting 230
The color Property 231
The text-align Property 231
The vertical-align Property 232
The text-decoration Property 234
The text-indent Property 234
The text-shadow Property 235

xv
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Contents
The text-transform Property 235
The letter-spacing Property 236
The word-spacing Property 237
The white-space Property 237
The direction Property 238
The unicode-bidi Property 239
Text Pseudo-Classes 239
The first-letter Pseudo-Class 239
The first-line Pseudo-Class 240
Selectors 243
Universal Selector 243
The Type Selector 243
The Class Selector 244
The ID Selector 244
The Child Selector 244
The Descendent Selector 245
The Adjacent Sibling Selector 245
Using Child and Adjacent Sibling Selectors to Reduce Dependence
on Classes in Markup 245
Attribute Selectors 247
Lengths 249
Absolute Units 249
Relative Units 249
Percentages 251
Introducing the Box Model 251
An Example Illustrating the Box Model 252
The Border Properties 255
The padding Property 258
The margin Property 259
Dimensions 260
Summary 270
Exercises 270

Chapter 8: More Cascading Style Sheets 273

Links 274
Backgrounds 275
The background-color Property 276
The background-image Property 277
The background-repeat Property 278
The background-position Property (for fixing position of backgrounds) 281
The background-attachment Property (for watermarks) 282
The background Property (the well-supported shorthand) 283

xvi
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Contents
Lists 283
The list-style-type Property 284
The list-style-position Property 285
The list-style-image Property 286
The list-style Property (the shorthand) 286
The marker-offset Property 287
Tables 287
Table-Specific Properties 289
The border-collapse Property 289
The border-spacing Property 291
The caption-side Property 292
The empty-cells Property 292
The table-layout Property 294
Outlines 294
The outline-width Property 295
The outline-style Property 295
The outline-color Property 295
The outline Property (the shorthand) 296
The :focus and :active Pseudo-Classes 296
Generated Content 297
The :before and :after Pseudo-Elements 297
The content Property 298
Miscellaneous Properties 301
The cursor Property 301
The display Property 302
The visibility Property 302
Additional Rules 304
The @import Rule: Modularized Style Sheets 304
The @charset Rule 305
The !important Rule 305
Positioning with CSS 305
Normal Flow 306
The position Property 306
Box Offset Properties 307
Relative Positioning 307
Absolute Positioning 309
Fixed Positioning 310
The z-index Property 311
Floating Using the float Property 312
The clear Property 314
Summary 320
Exercises 321

xvii
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xviii

Contents
Chapter 9: Page Layout 323
Understanding the Site 323
Understanding a Site’s Aims 324
Whom You Expect to Visit 325
New Content 326
Defining Your Site’s Content 326
Grouping and Categorization 327
Creating a Site Map 328
Identifying Key Elements for Every Page 329
Page Size (and Screen Resolution) 330
Fixed-Width vs. Liquid Designs 331
Designing Pages 337
Sketching the Placement of Elements 337
Introducing the Style 339
Navigation 342
Home Pages 345
Content Pages 345
Structuring Pages 346
Single-Column Layouts 348
Two-Column Layouts 350
Three-Column Layouts 353
Sacrificial Columns 354
Advanced Layout Using CSS 356
Creating a Layout Using Nested Tables 356
Summary 359
Exercises 359

Chapter 10: Design Issues 361

Text 362
White Space Helps Make More Attractive Pages 362
Carefully Aligned Text Is More Readable 365
Adjusting Line Height Makes Text More Readable 365
Wide Columns of Text Are Harder to Read 366
Background Images Can Make Text Hard to Read 366
Choose Fonts Carefully 367
Fixed-Size Fonts Are Affected by Screen Resolution 369
Navigation 369
Menus 369
Links 374
Site Search Features 375

xviii
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Contents
Shading Multiple Rows of a Table 378
Forms 380
Before Designing the Form 380
Designing the Form 382
Summary 401
Exercises 401

Chapter 11: Learning JavaScript 403

What Is Programming About? 404
How to Add a Script to Your Pages 406
Comments in JavaScript 408
The <noscript> Element 408
The Document Object Model 410
Introducing the Document Object Model 410
Objects, Methods, and Properties 412
The Forms Collection 415
Form Elements 416
Images Collection 419
Different Types of Objects 422
Starting to Program with JavaScript 422
Variables 423
Assigning a Value to a Variable 424
Lifetime of a Variable 424
Operators 424
Arithmetic Operators 425
Assignment Operators 425
Comparison Operators 426
Logical or Boolean Operators 427
String Operator 427
Functions 427
How to Define a Function 428
How to Call a Function 428
The Return Statement 429
Conditional Statements 429
if Statements 429
if . . . else Statements 430
A switch Statement 431
Conditional (or Ternary) Operator 432
Looping 432
while 433
do . . . while 434

xix
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Contents
for 434
Infinite Loops and the break Statement 435
Events 435
Built-in Objects 437
String 437
Date 441
Math 444
Array 446
Window 447
Writing JavaScript 449
A Word About Data Types 450
Keywords 451
Summary 451
Exercises 452

Chapter 12: Working with JavaScript 453

Practical Tips for Writing Scripts 453
Has Someone Already Written This Script? 454
Reusable Functions 454
Using External JavaScript Files 455
Place Scripts in a Scripts Folder 455
Form Validation 456
When to Validate 456
How to Validate 456
Form Enhancements 470
Focus on First Form Item 470
Auto-Tabbing Between Fields 471
Disabling a Text Input 472
Case Conversion 474
Trimming Spaces from Beginning and End of Fields 474
Selecting All the Content of a Text Area 475
Check and Uncheck All Checkboxes 476
Image Rollovers 482
Random Script Generator 485
Pop-Up Windows 486
JavaScript Libraries 487
Animated Effects using Scriptaculous 488
Drag-and-Drop Sortable Lists Using Scriptaculous 490
Sortable Tables with MochiKit 492
Creating Calendars with YUI 494
Auto-Completing Text Inputs with YUI 495

xx
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xxi

Contents
When Not to Use JavaScript 496
Drop-Down Navigation Menus 497
Hiding Your E-mail Address 497
Quick Jump Select Boxes 497
Anything the User Requires from Your Site 497
Summary 498
Exercises 498

Chapter 13: Putting Your Site on the Web 501

Meta Tags 502
name and content Attributes 503
http-equiv and content 505
The scheme Attribute 508
Testing Your Site 508
The Importance of Directory Structure and Relative URLs 509
Validating HTML, XHTML, and CSS 509
Link Checking 513
Checking Different Screen Resolutions and Color Depths 514
Accessibility Checkers 514
Development Server or Live Server 515
Checking in Different Versions of Browsers 515
Pilot Testing 516
Proofreading 517
Taking the Leap to Live 517
Getting a Domain Name 517
Hosting 518
Search Engine Strategies 522
Other Web Marketing Possibilities 525
Statistical Analysis 526
Version Control 527
What Next? 529
Blogs 529
Discussion Boards or Forums 530
Adding a Search Utility 530
Introducing Other Technologies 531
Server-Side Web Programming: ASP.NET, and PHP 531
Choosing a Server-Side Language 532
Content Management 532
Flash 535
Learning Graphics Packages 536
Summary 537

xxi
59313ftoc.qxd:WroxPro 3/22/08 2:31 PM Page xxii

Contents
Appendix A: Answers to Exercises 539

Appendix B: XHTML Element Reference 563

Appendix C: CSS Properties 607

Appendix D: Color Names and Values 637

Appendix E: Character Encodings 645

Appendix F: Special Characters 649

Appendix G: Language Codes 665

Appendix H: MIME Media Types 669

Appendix I: Deprecated and Browser-Specific Markup 681

Index 715

xxii
59313flast.qxd:WroxPro 3/22/08 2:31 PM Page xxiii

Introduction

There are a lot of books about designing and building web pages, so thank you for picking up this one.
Why do I think it is different? Well, the Web has been around for over a decade now, and during its life
many technologies have been introduced to help you create web pages, some of which have lasted, others
of which have disappeared. Many books that teach you to write web pages are revisions of earlier versions
of the same book and therefore still take the same approach as the previous edition did. The purpose of
this book, however, is to teach you how to create pages for the Web as it is today and will be for the next
few years. Then, once you have worked through this book, it should continue to serve as a helpful refer-
ence text you can keep nearby and dip into when you need to.

At one time, you needed to learn only one language to write web pages: HTML. As the Web has advanced,
however, so have the technologies you need to learn in order to create effective and attractive web pages.
As the title of this book suggests, you will be learning a few different languages:

❑ HTML and XHTML: HTML and XHTML are needed to explain the structure of any web pages.
They’re used to indicate what text should be considered a heading, where paragraphs start and
end, and what images should appear in the document, and to specify links between different
pages. As you might be relieved to hear, you shouldn’t think of HTML and XHTML as two sep-
arate languages. Rather, you can consider XHTML as more like the latest version of HTML.
❑ CSS: CSS is used to control how a document should appear. For example, you can use it to spec-
ify that a typeface should be a large, bold, Arial typeface or that the background of a page should
be a light green. It can also be used to control where different items appear on a page. For example,
you can use CSS to present text in two columns on the same page.
❑ JavaScript: You learn a little bit of JavaScript to add interactivity to the web pages you create, and
to work with the browser displaying the web page.

Despite the fact that you are looking at several languages, not just HTML, you can consider it a very good
time to be coming to the Web because many of the technologies used to create web pages have matured,
and favored methods, or “best practices,” for creating web sites have been emerging. It is these that you
will be learning.

About the Book

As you have already seen, you’ll be learning how to control the structure of a web page with HTML and
XHTML, how to style it with CSS, and how to add interactivity with JavaScript. Just learning about the
latest technologies, however, is not enough to ensure that you can write great web pages. As these tech-
nologies to write web pages have improved, so too have browsers (the programs and devices used to access
the Web). Browsers have reflected — and on occasion even informed — the way the languages used to
create web pages have developed. The problem, as you can probably imagine, is that not everyone has the
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Title: The Time Snatcher

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*** START OF THE PROJECT GUTENBERG EBOOK THE TIME

SNATCHER ***
Tampering with events of the past could bring
disastrous results in the future. It was why
Brek was given a pair of six-guns to catch—

THE TIME SNATCHER

 By Randall Garrett

[Transcriber's Note: This etext was produced from

Imagination Stories of Science and Fantasy
February 1957
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
"We're in a hell of a jam, Brek," the Councillor said. "If Sagginer isn't
stopped, he'll change history. The situation's desperate."
Time Patrolman Brek Halliday nodded in agreement. It was a tense
situation. Time travel, he knew, was possible only so long as the
traveller into the past did nothing that would change history
significantly; the time-stream itself would straighten out little
changes in the past so that overall history would remain the same.
But a big change was something else again. If you stick your finger
in a river, there are a few ripples around it, but the flow of the river
remains the same. If you build a dam, though....
"When is he?" Brek asked. "Do we know?"
"Fortunately, yes. He forced one of our operators to use one of the
chronokinetic projectors, and then kidnapped her and took her with
him. But he didn't know that the power drain was measurable and
had been recorded on the meters. We know how much energy he
used, so we know how far into the past he went. We've got him
pinpointed in the area of the old United States, somewhere between
1880 and 1895."
"Who was the girl he kidnapped?" Brek asked.
The Councillor smiled apologetically. "Dori Clayton."
The muscles of Halliday's jaw tightened. "I see," he said stiffly.
"When do I leave?"
"We'll prepare you immediately. It's going to be a touchy job to get
both of them out of there, so watch yourself."
"Don't worry," Halliday said quietly. "I'll manage it." He walked out,
eyes hot with rage, thinking of Dori in Sagginer's clutches. His hands
slowly clenched and unclenched as he headed down the long hall.
A Time Patrolman's first step in any excursion to the past is to learn
the language and the history so well that he can pass as a native.
For three days, Brek Halliday lay in the padded tank of a hypnorobot
while information was poured into him.
Then he was given his clothes. They consisted of a pair of high-
heeled boots made of treated animal skin, a pair of tight trousers
woven of blue-dyed vegetable fiber, a shirt of similar material, and a
broad-brimmed hat. Other clothing and equipment went into a pack,
and a money-belt around Brek's waist carried gold coins that not
even an expert could have told from the originals.
The thing that Brek liked best was the fact that he would be allowed
to carry weapons openly. Some civilizations of the past didn't permit
a citizen to carry guns, but where Brek was going, a man with a pair
of six-guns at his hips wouldn't look odd at all.
Brek had ridden a horse three times—once in the Battle of
Agincourt, once at Chickamaugua, and once during a trip from Rome
to Ravenna in the Sixth Century. His fourth horse was saddled a little
differently, but he found it easy to handle. He trotted it onto the
platform and signalled the operator. There was a brief hum as the
chronokinetic projector warmed up. Then there was a sudden surge
of power.
Brek's surroundings seemed to vanish into greyness.
Moments later, light swirled around him....

Plata City, New Mexico, was enjoying a warm, lazy summer day. No
one paid much attention to the stranger who came into town on a
very ordinary-looking cayuse, pulled up before the Casa Loma
Saloon, and dismounted. He hitched his horse to the rail, looked up
and down the street casually, and then strode into the saloon.
"What'll it be, mister?" asked the fat, mustachioed bartender.
"Whiskey," Brek said. "And a little cold beer to follow it. That road
from El Paso is hot."
The barman filled the order. "El Paso, eh? That's a right smart ride.
Been on the road long?"
"'Bout a week. I don't believe in rushin' nothin'."
"Hey, barkeep!" yelled someone down at the far end. The bartender
went, and Brek downed his whiskey. He sipped the beer reflectively,
thinking long and hard.
Jon Sagginer had been convicted once for illegal use of a time
machine, and had been sentenced to ten years on Luna. Somehow,
he'd managed to escape and, by bluff and daring, actually get
control of a Time Patrol Chronokinetic Projector long enough to use
it and kidnap the operator, Dori Clayton.
It was bad enough to use the machine, Brek thought darkly, but to
take Dori—
Brek clenched his fists. For kidnapping Dori, Sagginer would take his
punishment from Brek, not the law.
The first thing to do was find him. Reading the power flow of a
Chronokinetic Projector could only give an approximate location.
Sagginer had landed within fifty miles of this spot, and at some time
within the past five years—but where was he now?
And, Brek asked himself—did he still have Dori with him? Five years
is a long time.
In the course of a year or two, Sagginer could be a long way from
Plata City, but Brek had a hunch that this was his goal. He didn't
know he could be traced, and he wasn't prepared for travel.
But—
Suddenly, a finger tapped his shoulder and he whirled in surprise. He
saw a man wearing a big silver star prominently on his vest.
"Stranger, you'll have to shuck them irons. City ordinance says a man
can't carry pistols inside the city limits."
"I notice I ain't the only one with a full gunbelt," Brek said slowly.
The man's eyes narrowed. "Them happens to be John Sager's men,
mister, and they all happen to be deputies." His pistol came out
suddenly. "I'm orderin' you to take 'em off."
Brek shrugged and unbuckled the belt.
"I ain't lookin' for an argument," he said, handing the gunbelt to the
sheriff. But as the sheriff reached for the belt, Brek lashed out with
one hand, slapping the other's weapon aside. It skittered across the
floor as Brek jerked one of his own guns from the belt and sent the
sheriff reeling backward with a blow in the chest.
Several of the other armed men started to reach for their hips, but
Brek's icy voice stopped them short. "First man to touch a gun gets
lead!"
The sheriff's face grew red. "You've got trouble, stranger."
"Maybe. But them guns is mine."
"You're trying to buck the law," said the sheriff.
Brek grinned. "It's a damn fool law that needs so many men to
enforce it. If you was the only one packin' irons, I might be
persuaded to gie 'em to the barkeep here. But as long as everybody
is carryin' full holsters, I reckon I don't want to be out of style. I'd
look too conspicuous."
Still holding his weapon, he buckled on his belt and walked over to
where the sheriff's gun had fallen. Without taking his eyes off of
anyone in the room, he squatted and picked it up.
Then he walked back to the sheriff and shoved the six-gun into the
lawman's holster. "Don't aim to cause no trouble, sheriff. If you and
the rest of these gents will oblige me, I'll ask the barkeep to set us
all up a drink."
There was a moment of silence, then the sheriff grinned.
"Reckon I'll take whiskey," he said.
Brek grinned back and put his weapon in its sheath.
It was almost a mistake. As soon as his hand was well away from
the gun butt, one of the men at the bar snatched at his six-gun and
brought it up to fire.

No ordinary man with ordinary guns could have moved fast enough
to do anything. But Brek was no ordinary man, and his weapons
were far from ordinary; both man and guns were the product of a
science far in advance of the nineteenth century.
Brek's hands blurred, and his weapons seemed to leap from their
holsters as the little robot mechanisms secreted in their butts
responded to the electroneural commands of their owner.
There was a roar of sound as one of the guns spoke.
The gunman's weapon seemed to vanish from his hand. It sailed
across the room, banged against the wall, and dropped to the floor.
Brek had no compunction against killing a man, particularly in self-
defense, but the death of one man might conceivably make radical
changes in the future.
As the echoes of the gunshot died away, the gunman howled with
pain. The shock of Brek's bullet against the gun had sent needles of
pain racing up his arm.
The room was silent. Then the sheriff walked over to the gunman,
who was massaging his aching, numbed fingers, and grabbed him
by the shirt collar.
He said softly, "When I agree to take a drink with a man, I don't
take it lightly when one of my deputies tries to shoot him."
"I figured you wanted to take him after what he had done," the man
said sullenly.
"If I had, I'd of done my own gunslinging." He reached out and
yanked the small metal star off the man's vest. "You ain't a deputy
any more. If I catch you wearin' guns, I'll run you in—or shoot you,
whichever's handiest."
Still holding his injured hand, the man turned and walked out of the
saloon. The sheriff turned around to Brek.
"That was mighty fast and accurate shootin', son. What'd you say
your name was?"
"I didn't say yet," Brek said, reholstering his weapons. "But as a
matter of fact, it's Ed Calhoun. As I said, I don't want to cause no
trouble, but I'm glad to oblige them that comes lookin' for it." He
laid a ten-dollar gold piece on the bar. "Here's an eagle, barkeep.
Let's have them drinks."
One of the other men at the bar looked quizzically at the sheriff.
"Sheriff, maybe you hadn't ought to of done that to Cactus. How's
the boss gonna take it?"
The sheriff looked at him for a moment. Then he looked at the
others. "Let's get one thing straight here. John Sager's an important
man hereabouts, and I don't deny it. He needs good gunslingers to
guard his property, and I'm only too glad to deputize 'em. But, by
the Almighty, if a man don't behave himself, if he ain't to be trusted
with a gun, then he ain't goin' to wear a badge as long as I'm
sheriff."
He turned to Brek. "I got to uphold the law, son. I asked you to turn
them guns in and you wouldn't do it. I'm damned if I'm goin' to' try
to take 'em away, so there's only one thing to do." He handed Brek
the star that he had taken from Cactus. "Hold up your right hand,"
he said.
Half an hour later, Brek found himself sitting at a table, drinking beer
and talking with the sheriff and a man named Chuck. He'd answered
questions about his past with the purely fictitious data that he'd
received from the hypnorobot, but all the time his mind had been on
the man who was "an important man hereabouts"—John Sager.
Sager. Sagginer. It could be the same man.
"By the way, Sheriff—who is John Sager?"
"Owns the bank," the sheriff said. "Got property up on Chloride
Flats, too. That's the silver mine district, you know. Bought out a
couple of men who was failin' in business and then put 'em to work
managin' their own stores for him. People around here have a right
smart respect for him."
"Friendly sort of fella, eh?"
"Well, I wouldn't go so far as to say that. He treats people well,
gives money to the church and the school, gives a man a job if he's
down and out, but I wouldn't say he was a likeable man personally."
"He's odd," said Chuck. "A real queer one. Maybe I shouldn't say it
because I work for him, and he's done real proper by me, but—well,
he's a funny one."
Brek raised an eyebrow. "Yeah—How?"
"Well, for one thing, he seems so—well, cold. Like he was a side-
winder or a rattlesnake waitin' for a packrat to come by. He always
seems to be figurin'—calculatin'. He don't smile much, and when he
does, it don't look right on him."
"That funny accent of his don't help none," the sheriff chimed in. "It
ain't that he can't speak good English, but it sounds funny, the way
he says it."
"Been here very long?" Brek asked casually.
"'Bout three years, is all. Done right well by himself, considerin' he
didn't have much when he came."
Chuck said: "After bein' robbed and all, it's a caution how he done so
well." Then he laughed. "That was downright funny, when you come
to think of it."
"Yeah," the sheriff said, grinning. "Him and his sister showed up one
night, naked as jaybirds. A couple of owlhoots had robbed 'em and
stripped 'em of everything they had. No horse, no clothes, no
nothin'. He was lucky, in a way, though. He had a money-belt on him
that he managed to hide in a mesquite bush while the bandits
wasn't lookin'.
"I was sittin' in my office that night, when I heard a knock at the
back door. I opened it, and there was John Sager, all dressed up in
his birthday suit and nothin' more. Course, I didn't know who he was
—"
Brek listened closely to the sheriff's story. It all fits in. Sagginer
hadn't had time to prepare himself for this era; his speech was
strange, and his clothes even stranger. So he'd taken off his clothes
and pretended to have been robbed. And his sister?
"What's his sister like?" he asked.
"Pretty," Chuck said, "but she's not too bright. Goes around in a daze
most of the time."
Hypnotized! Brek thought. That settled it.

Twenty-four hours later, Brek had all the information he needed.

Sagginer had a double plot in mind—one which would both set him
up permanently and at the same time eliminate any danger from the
Time Patrol. Sagginer knew, of course, where the Great Silver Vein
was at Chloride Flats. It wasn't due to be discovered until 1973, but
if "Sager" found it, he'd not only be a rich man—he would so change
history that the Time Patrol would be unable to reach him. He would
divert the time-stream radically by the discovery of such a vast
amount of silver.
Brek had presumably spent the night at the Murray Hotel, but he
had actually slipped out of his room unseen and made an excursion
on foot up Palo Alto Mountain to the big house Sager had erected
there.
It was tightly guarded. There would be no chance of getting in there
without creating a major disturbance. Cautiously, he crept
completely around the house, looking for a break in the guard
network. There wasn't any.
In order to get inside, he'd have to get himself invited in. But how?
He returned to the Hotel, headed from there to the Casa Loma, and
was sitting in the bar drinking a beer, mulling the problem over,
when Chuck came in.
"Ed," the slim man said softly, "it really ain't none of my business,
but I thought you ought to know that Cactus is gunnin' for you."
"Thanks, Chuck," Brek said, as Chuck walked over to the other end
of the bar, as if not wanting to be seen with Brek.
It was easy to see what had happened. Cactus had told Sager-
Sagginer what had happened in the bar yesterday, including, no
doubt, the story about the blinding draw from the hip. Sager
probably suspected that Brek was a Time Patrolman and had sent
Cactus to shoot him.
Brek moistened his lips, got up, and dropped a coin on the bar. Then
he tipped his hat to Chuck and pushed his way through the
batwings, heading for Sager's bank.
He knew the game. Sager didn't care whether Cactus got killed or
not; what he wanted to do was watch Brek's gunwork, which would
give him away as a Patrolman if he depended on the robot pistols.
Brek would have to take a chance.
He reached down and turned off the robot armament. All he had
now was a pair of ordinary pistols. Overhead, the noonday sun was
coming down strong and hard, and he began to sweat.
Casually, he sauntered down the wide, unpaved street toward the
bank. There were a few people strolling idly in the other direction.
He moved up against the row of shops, looking in all directions.
No sign of Cactus. He frowned. Brek knew of Cactus' fear of his
lightning draw, and suspected that Cactus would try an ambush.
Brek glanced uneasily across the street, over at Bishop's Livery,
where a cowpoke was hitching his reins to the rail. It wasn't Cactus.
Then, suddenly, a gun spoke. Brek felt a hot bolt of lead blast its
way into his arm, and he staggered dizzily. He glanced up as he
struggled to regain his balance, and saw gunsmoke drifting out an
open window in the second floor of Sager's Bank. Cactus, he
thought. He leaped back as another bullet raked the dirt near him.
His left arm was warm with his own blood.
The street was silent. Brek leaned against the cool glass of a shop
window, waiting, holding his breath.
In a few minutes, a head peered cautiously out the second-story
window. Brek tugged at his gun—it seemed to take forever to get it
out with the robot armament shut off—and fired once.
A man tumbled out the window, bounced off the awning in front of
the building, and dropped heavily to the ground. He lay still.
Brek mopped the blood from his arm. His head was starting to swim
with pain, and new worries assailed him. He had killed a man, now.
Would it change the past? Would he ever reach Dori again? He didn't
know. All he knew was the blinding pain in his arm.

He was in fairly good repair an hour later, though the arm still
throbbed a bit. He'd taken it to a local doctor; Sagginer would be
suspicious if he'd used Quik-Heal on it. He stood in front of the
Murray Hotel, methodically packing his few belongings into his
saddlebags.
Chuck walked up. "Ed, the boss would like to see you. Sager."
"Sager? What does he want?"
"Wants to apologize for what Cactus done. He fired Cactus as soon
as he heard about the run-in with the sheriff, so he wants you to
know he ain't responsible. Cactus had no business layin' for you from
that bank window."
Brek shrugged. "Might as well go," he said. "I never figured Sager
was behind it anyway."
He headed to the bank. Sager was sitting behind his desk, flanked
by a couple of his gunmen. He was a lean, long-nosed man with cold
eyes and a narrow, thin-lipped mouth.
"You are Ed Calhoun?"
Brek nodded.
"I want you to know that I am sorry for what my ex-employee did. I
do not like that sort of thing." Sager's speech was stiff and formal,
Brek noted.
"I figured he was on his own," he said easily. "I didn't know of
nothin' you might have against me."
"There is nothing, I assure you. I understand you are leaving Plata
City."
"Yep. I'm headin' for Arizona—cattle country. I'm a cowman by
trade."
"You are also a very good man with a gun. I need men like you. How
would you like to work for me?"
It had worked, Brek thought exultantly. Pretending to be about to
leave town had removed all suspicion from Sagginer's mind.
"Why, I reckon I might stay if the pay was good," Brek said
thoughtfully. "Long as a man makes a livin', it don't matter much
what he does."
"I will make it well worth your while, Mr. Calhoun."
Brek drew his breath in sharply, fighting the temptation to shoot
Sager where he sat. It would eradicate one considerable blotch on
the human race, but it would also involve killing others and it still
wouldn't get Dori out of that house.
"Reckon I'll listen to your proposition, anyhow, Mr. Sager."

It was three days before Brek was asked up to the house. He knew
his time was running low. If Sager actually started mining operations
on his property, his death or disappearance wouldn't stop it.
Someone else would find the Great Silver Vein, and the time-stream
would be unalterably diverted, causing incalculable change in the
world of the future.
Brek's opening was a lucky one—a prowler had been caught, a
Mexican itinerant shot and killed by a guard. It had apparently
scared Sager, who probably suspected the Mexican might have been
a Time Patrolman, and so he had decided to increase the guard
around his house. Brek was called from his bank duties and taken up
Palo Alto Mountain to the Sager mansion. His job was to patrol the
grounds.
That evening, as dusk fell, Brek strolled around the grounds, going
from one of the posted guards to another.
"Sam? It's me, Ed."
"Howdy, Ed. Seen anything?"
"Not a thing. You?"
"Nope. I think the boss is just jumpy."
Brek poured tobacco into a cigarette paper, rolled it deftly, and put it
in his mouth. "Got a light, Sam?"
"Sure."
As the guard struck the match, Brek leaned forward to light his
cigarette—and, at the same time, he put his hand on the other's
shoulder. Automatically, a little device in his palm silently and
painlessly injected hypnotene into the man's blood stream.
After a moment, Brek said: "How do you feel, Sam?"
Sam blinked slowly. "Just fine."
"You'll do anything I tell you—won't you, Sam?"
"Why sure, Ed. Whatever you say."
Brek grinned savagely. "You won't hear any noise from the house."
"No noise from the house," Sam agreed.
"No matter what happens, you won't hear anything out of the
ordinary, or see anything out of the ordinary. This will seem just like
any other night to you."
Under the influence of the drug, Sam nodded in agreement.
"And you won't remember what I just said. All you'll remember is
that I bummed a light and went on."
Again Sam nodded.
"Well, so long, Sam."
"So long, Ed," said Sam tonelessly.
The same process, with variations, was repeated with the rest of the
guards. When he was finished, Brek fired his gun into the air and
strode boldly up to the front door. He rapped.
"Who is there?" asked a voice from within.
"Ed Calhoun, Boss. We just killed another prowler. You want to take
a look at him?"
A pause. Then, "Are you sure he is dead?"
"Bullet through his head," Brek said.
"What does he look like?"
"Ordinary. Might be an Indian."
The door opened, and Sager stepped straight into a right upper-cut
which bowled him back through the opening. Brek charged in after
him, but the man lay limp, his eyes closed.
Brek stood over him for a moment, debating what to do. Then he
heard footsteps on the stairway.
Dori.
She stared at him, no recognition in her eyes. A chill of horror ran
through him as he saw what Dori had become.
"Who are you?" Her voice was dull, uncaring.
He walked over to her and looked at her eyes. Burning fury rose in
him. Using hypnotene, Sagginer had made Dori only the shell of the
girl he had loved.
"Who are you?" she asked again. "I do not know you."
"You once did," he said tightly. "You—"
He felt a sudden blow on the back of his neck, and his knees
sagged. Sager had been feigning unconsciousness, and now had
returned to the struggle at a moment when Brek was unprepared.
A fist smashed into his side, and he ducked away, blinking away the
pain. He turned and advanced toward Sagginer, while Dori moaned
wordlessly in the corner.
Sagginer jumped forward and drove a fist toward Brek's jaw, but
Brek countered and felt knuckles crash through the time-jumper's
teeth. As Sagginer rocked, Brek hit him below the heart, and he
grunted and folded up.
This time Brek made sure of the job. He continued pummelling
Sagginer's senseless body until he was out of breath, then stood up
and looked at Dori.
She was huddled helplessly in a chair, sobbing in terror. Brek scowled
as he remembered the girl he had once known, and gave the
unconscious form of Sagginer another kick. Then he slid his gun out
of its holster and pressed a button on the underside of the robot
gunbelt.
The time-scoop closed around the three of them.

When the greyness cleared away, Brek stumbled out of the time-
scoop and saw the Councillor waiting for him, smiling.
He shook his head to clear it. "Here I am," he said. "And here's your
time snatcher. Mission accomplished, sir."
"Very fine job, Brek. Very fine."
Brek looked at the Councillor. "There's one problem, though. The
girl, Dori—"
He saw the Councillor blink apprehensively. "Oh, I brought her back,
all right," he said quickly. "But—but—she's been badly treated, sir. I
don't know if the damage Sagginer's done to her mind can ever be
repaired. I—"
The Councillor's eyes widened. "What are you talking about, Brek?
What has happened to Dori? I'm afraid I don't understand what you
mean."
"Why, she's right here—unconscious, in the back of the Time-
Scoop," Brek said, puzzled. "And—" He turned to find the girl. "Why
—she isn't here!"
"Of course not," said the Councillor. "She's been right here, all the
time. Where else should she be?"
Dimly, Brek began to realize what had happened. Some act of his—
the shooting of Cactus, perhaps—had altered the future, his present,
ever so slightly. Just enough so that in this present, Sagginer had
gone back alone—without Dori.
A door opened, and a girl stepped out, clad in a white lab smock.
Her eyes were bright and clear, and when she saw Brek, she gave a
little scream of joy.
Then Brek folded her into his arms.
 *** END OF THE PROJECT GUTENBERG EBOOK THE TIME
SNATCHER ***

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