The Project Gutenberg EBook of History Repeats, by George Oliver Smith This eBook is for the use of anyone anywhere 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 Title: History Repeats Author: George Oliver Smith Illustrator: Martinez Release Date: December 17, 2007 [EBook #23884] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK HISTORY REPEATS *** Produced by Greg Weeks, Greg Bergquist, Bruce Albrecht and the Online Distributed Proofreading Team at https://www.pgdp.net
This etext was produced from Astounding Science Fiction May 1959. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.
There are—and very probably will always be—some Terrestrials who can't, and for that matter don't want, to call their souls their own....
Xanabar lays across the Spiral Arm, a sprawling sphere of influence vast, mighty, solid at the core. Only the far-flung boundary shows the slight ebb and flow of contingent cultures that may win a system or two today and lose them back tomorrow or a hundred years from now. Xanabar is the trading post of the galaxy, for only Xanabar is strong enough to stand over the trading table when belligerents meet and offer to take them both at once if they do not sheathe their swords. For this service Xanabar assesses her percentage, therefore Xanabar is rich. Her riches buy her mercenaries to enforce her doctrines. Therefore Xanabar is rotten at the under-core, for mercenaries have no god but gold.
The clatter of a hundred tongues mingled with the clink of glasses and floated through strata of smoke from the burning weeds of a hundred planets. From one of the tables, voices rise in mild disagreement. There is a jeering laugh from one side and a roar of anger from the other. Two men rise and face one another ready to follow their insults with violence. Before the eruption can start, a mercenary steps forward on lithe feet and lightly catches the back-swung arm, a quick hand removes the poised glass before it can be thrown into the adversary's face.
"Sit!" says the mercenary in a cold voice, and they sit still glaring at one another.
"Now," says the mercenary, "settle your differences by talk. Or depart in opposite directions. This is Xanabar!"
"He lies! He brags!"
"I do not lie. They are barbarians. I do not brag. I can bring you one."
"You—"
"A wager," said the mercenary. "A wager. Xanabar can take no tax in blood." He faces one. "You claim you can do that which he says you can not." Then not waiting for a reply he faces the other, "And if he does, how much are you willing to pay?"
"How much is his life worth?"
"How much are you willing to pay?" demands the mercenary coldly.
"Five hundredweight in crystal-cut."
"An honorable sum. Do you agree?"
"Not enough—"
"For a task as easy as you claim it to be," said the mercenary, "Five hundredweight of crystal-cut seems honorable."
"But it means—"
"We in Xanabar are not interested in the details. Only in the tax. An honest wager-contract, outlanders. Otherwise I rule that your eruption here disturbed the peace."
The two outlanders look at one another; schoolboys caught fighting in the alley by a monitor who demands a bite of their apple in lieu of a visit to the principal. As if loath to touch one another they reach forward hesitantly and handshake in a quick light grip.
"Good!" glows the mercenary. He waves a hand and his fellows converge with contract-platen and etching stylus. "Now, gentlemen, please state the terms for Xanabar."
Peter Hawley strolled down a side street with a dog at his heel. It was a dog of many breeds, but not a mixture of careless parentage. Peter paused at a cross-street and looked uncertainly to left and right. "What do you make, Buregarde?"
"The noble dog says right," replied Buregarde.
"Right," said Peter turning up the street. "And stop this 'Noble dog' routine."
"Man is dog's best friend," said Buregarde. "If you'd called me something sensible, I wouldn't have looked it up. There is a statue to me in the Okeefenokee back on Earth. I am the noble dog. Pogo says so."
"I—"
"Easy Peter!" said the dog in a near-whisper.
"All right. Do we play down the chatter?"
Buregarde sat, lifted his nose and sniffed. His natural voice gave a faint whine of discontent. "I'm supposed to have a nose," he complained. "This is like trying to smell out a lone mouse in a zoological garden in midsummer."
"Why the warning?" asked Peter.
"All races smell the same when they are poised for violence," said the dog. "Trouble is that man-smell isn't pointed the way it's going, only where it's coming from."
Peter grunted. "Catch any woman-smell?"
"Just the usual whiff. Stale scent. She was here; she passed this way. But which way?"
"We can guess they made it away from the spaceport."
"Unless," said the dog taking another sniff of the air, "they're taking her back to some other spacecraft." Buregarde looked up at Peter. "Do you catch anything?"
"Just the usual mingled fright and danger, frantic despair."
"Directional?"
Peter shook his head. "No," he said. "The source is too close."
"Let's stroll up this street to the end and come back on the other side," said the dog. "Quietly."
In a saunter they went, alert and poised. A man and his dog from all appearances. But in Xanabar, the principal city of Xanabar the Empire they were huntsman and companion.
Like all cities of more than ten million souls, Xanabar had its glistening and lofty area and its slums—and what would have been a waterfront region in a seafaring city. The conditions were the same as they'd been everywhere for a few decades of thousands of years. Only the technology changes. Man's cave is stainless steel and synthetic plastic; the cave's man is swinging a better axe, and his hide is protected from the weather by stuff far more durable than his awn skin. But he's the same man with the same hackles; they just rise for a few more thousand reasons than the hackles of his ancestors.
"Got it!" said Buregarde coming to a brief point at a closed door.
"Let's go in!"
Buregarde's reply was half-snarl and half, "Look out!"
Peter whirled to catch a glimpse of a man upon him with pencil-ray coming to point. He faded down and toward the other, almost in a fall out of the path of the pencil-ray that flicked on and began a sweep upward and in. Peter caught his balance at the same time he clutched the wrist in his right hand. Then he went on down around and over, rising on his knees to flip the other man heels high in an arc that ended with a full-length, spine-thudding body smash on the pavement. Buregarde leaped in and slashed at the hand clutching the pencil-ray, snapped his head back and forth thrice and sent the weapon flying. Then with a savage growl he set a soft mouth against the other's throat and let the man feel the pressure of his fangs.
"Easy," said Peter.
Buregarde backed away a few inches. "Easy nothing," he snapped. "This man is the noble dog's worst enemy. He wanted your blood."
"Take it easy. I want his information."
The man looked up. "Barbarian Terrestrial!" he snarled.
Peter sneered. "And this is the capital city of the glorious civilization called Xanabar? Marble palaces with nobles of the blood, and stinking alleys with human rats. Where is she?"
The stranger spat.
"Buregarde, want some red meat?"
"He'd make me upchuck. Only rodents eat their own kind."
"Just a bite?"
"Do I have to swallow?"
"No. Just slash—"
"Wait, barbarian—"
"Barbarian Terrestrial, am I? You were maybe going to invite me for tea and cakes with that pencil-ray?"
"I—"
"Talk!" snapped Peter. "Where is she?"
"Who?"
"Buregarde—?"
"Yes, boss. The throat or the other hand?"
"All right—for the good it'll do you. She's in there. Go on in—and we'll have two of you!"
Buregarde growled, "Three of us. And we might be hard to handle."
Peter stood up and hauled the stranger to his feet. His right hand dripped blood from the dog's teeth. Peter looked for, and found the pencil-ray smashed against the stone front of the building. He cuffed the stranger across the face, turned him around, and pointed him toward the far corner.
"I count three," he said. "If you're not out of sight by three—"
"It'll be a pleasure, Peter," said Buregarde.
The stranger loped away on a crazy run. As he turned the corner he ran face on to one of the uniformed mercenaries of Xanabar. The mercenary collared the stranger and took a quick inventory of the slashed right hand, the ripped clothing, and adding those to the frightened gallop he came back with the stranger's left arm held in a backlock.
Haughtily he demanded, "What goes on in Xanabar?"
Peter eyed the mercenary sourly. "Kidnaping and attempted murder."
"Who says such lawlessness runs rife in Xanabar?"
"I say so. Peter Hawley of the Extraterrestrial Service. I say so."
"You are mistaken, barbarian."
"I say so," said Buregarde.
"You're an animal."
"I am—and so are you."
"I'll not be insulted by an animal! I am—"
"Take it easy, Buregarde."
"Take it easy nothing. This mercenary foot-soldier forgets one thing—or maybe he doesn't know about it."
"Don't call His Excellency's Peacekeepers 'mercenaries'!" snapped the mercenary.
"Peacekeeper," chuckled the dog. "Well listen and become wise. Dog and man, man and dog, have been together for about a half-million years. Once dog helped man in war and peace, and man gave dog food and shelter. Dog helped man rise above the level of the savage, and man has helped dog rise to the level of intelligence. But dog has one advantage. None of us has been intelligent long enough to really believe that dog has a soul, and those of us who do believe that also know that dog's soul is devoted to man. Do you know about dog, Xanabian—Peacekeeper?"
"No—"
"Then don't force me to show you what kind of adversary intelligent dog can be. Mere man is a pushover!"
"Bah!"
Buregarde loped in a mad circle around the mercenary. His Excellency's Peacekeeper turned to stay facing the dog but found himself turning his back on Peter. He stepped back and to one side and reached for his heavy-duty pencil—the dog gave a low growl of warning and crouched for a leap.
"He means it—Peacekeeper," said Peter Hawley quietly. "Draw that pencil and he'll have your hand in ribbons before you can level it."
The mercenary drew in his breath.
"Whistle for help and he'll have your throat."
"I shall not permit this high handed—"
"Then stop sounding off and listen to us!" snapped Peter. "I charge the Empire of Xanabar with the crime of being indifferent to the welfare of the stranger within her gate. I charge kidnaping and attempted murder, and I charge the latter against the specimen you hold in your hand."
"An outlander!"
"Does he bring his own law to Xanabar? If he does, then so do I!"
"I arrest you all for breaking the Peace of Xanabar."
"Me, too?" asked Buregarde.
The mercenary ignored the dog's eager sally. "You are armed, Terrestrial."
"So was he."
"So am I!" snarled Buregarde showing a fine set of white fangs in the most effective gesture.
"This must cease!" thundered the mercenary. "You cannot threaten His Excellency's Peacekeepers!"
Buregarde growled, "Slip the mercenary a crystal-cut, boss. We've got a girl to find!"
"A girl? A Terrestrial girl?" asked the mercenary with his eyes opening.
"The daughter of our envoy to Lonaphite. Miss Vanessa Lewis. Last reported in her stateroom aboard the Terrestrial Spacecraft Polaris during landing pattern at Xanabar Citadel Spaceport."
The mercenary said, "The work of outlanders—riffraff such as this!"
"Well," snapped Peter Hawley, "do His Excellency's Peacemakers condone such goings-on?"
"We keep the Peace of Xanabar. Your charge is your word, Terrestrial."
"Terrestrial Barbarian, isn't it?"
"I arrest you—"
"Oh, stop it. For fiveweight of crystal-cut can you be bribed to haul that specimen off to jail and let me go about making my own Peace with Xanabar?"
"You accuse me of accepting bribes?"
"You re a mercenary, aren't you? Sevenweight of crystal-cut."
"Ten."
"Seven," said Peter.
"Ten," said the mercenary, "and you have one more caper coming."
"Ten," agreed Peter Hawley, "and you look the other way when I take the lid off."
"Still got it," said Buregarde, sniffing at the closed door but keeping one eye on the disappearing mercenary and his prisoner.
"I've got it, too. Still fright and concern: fear of harm, concern over what happens next."
"Strong?"
"Definitely," said Peter closing his eyes and holding his breath.
"Nothing measurable?" asked the dog after a full minute.
"No. Too bad I was never introduced to her. I have no idea of her strength of mind—wait!" Another minute went by in personal silence; Peter Hawley's concentration far too deep to be disturbed by the sounds of the city's spaceport slum by night. The dog backed away from the door and took an alert position to guard Peter while the man was immersed in his own mind. Finally Peter alerted and shook his head sadly. "I thought for a moment that she'd caught me. A fleeting thought of rescue or escape, concept of freedom, flight, safety. But wish-thinking. Not communication. Let's go in."
"Barge, or slink?" asked the dog.
"Slink."
"Have it your way," said Buregarde.
Outside, the place looked closed. The door was solid, a plastic in imitation of bronze through which neither light nor sound passed. The windows were dark. But once the door was cracked, the wave of sound came pouring out along the slit of light and filled the street with echo and re-echo.
"Slink, now," said the dog.
"So everybody makes mistakes."
Inside, a woman leaned over a low counter. "Check your weap ... say! You can't bring that animal in here!"
Buregarde said, "He isn't bringing me. I'm here because I like it."
The woman's eyes bugged. "What ... kind—?"
"I am man's best friend—the noble dog of Barbarian Terra."
"Yes ... but—"
"Oh," said Peter airily, "we're looking for a friend."
"Friend? Who is he?"
"It's a she and her name is Vanessa Lewis."
"She ain't here."
"The dame's a liar-ess, Peter. I scent her strong."
"We'll just take a look around," said Peter to the check girl.
"You'll have to check your weapons."
"I'd rather go in naked. Sorry. Not today. Weapons happen to be my business today. Come on, Buregarde."
Man and dog started along the hallway warily. Buregarde said, "Any touch?"
"Got a faint impression of alarm, danger, call out the guards."
"I scent violence," said the dog. "And—"
The door at the end of the hallway opened and a big man stepped out. "What's going on here?" he demanded flatly.
The check girl said, "He wouldn't check ..."
The big man reached for his hip pocket.
Peter said, "Take him high!" and they plunged.
Peter dove for the man's knees, Buregarde went in a three-stride lope like an accordion folding and unfolding and then arched in a long leap with his snarling fangs aimed at the man's throat. Man and dog hit him low and high before he could open his mouth, before he could free the snub pencil-ray. There was a short scrabble that ended when Buregarde lifted the man's head and whammed it down hard against the floor.
Weakly, the check girl finished her statement, "... His weapons!" and keeled over in a dead faint.
Buregarde shook himself violently and worked his jaws, licking blood from his chops. Peter looked in through the open wall-door opposite the check counter; the racket had not been noticed by the roomful of spacemen and riffraff. The babble of a hundred tongues still went on amid the clink of glasses and the disturbing strains of Xanabian music. Smoke from a hundred semi-noxious weeds lay in strata across the room, and at a table in the far corner two men faced one another, their expressions a mixed pair. One held heavily begrudged admiration as he paid off five hundredweight of crystal-cut in the legal tender of Xanabar to the other, whose expression was greedy self-confidence. One of His Excellency's Peacekeepers presided over the exchange. Coldly he extracted a fiftyweight from the pile and folded it into the signed and completed wager-contract. For his own coffer he extracted a fiveweight and slipped it into his boot top.
Peter Hawley and Buregarde passed on, went through the far door dragging their late adversary ignominiously by the heels. Amid the lessened publicity of the distant hall, Peter checked the man and shrugged. "He may live," he said coldly, "if he doesn't bleed to death."
"You really ought to take 'em on the high side," said Buregarde, plaintively. "All I've got is my teeth to grab with. They don't bleed so bad from the ankle."
"They don't stay stopped that way either," said Peter harshly.
"You'd not be getting any praise from the Chief for that sort of brutality."
"If Xanabar weren't rotten to the core, we wouldn't be plowing through it in the first place. Now, let's get going."
"Shouldn't you call for the rest of the crew?"
"Not until I'm certain the girl's here. I'd hate to cut the city-wide search for cold evidence."
"She's here. I scent her."
"Maybe it's past tense, Buregarde. Or maybe it's another woman."
"Could be. But one thing: It is definitely Terrestrial woman." The dog sniffed again. "You get anything?"
"No more than before. It's close and they're the same set of impressions Yet, any woman would be frantic with fear and concern."
"I ... shhh!" Buregarde's sharp ears lifted instinctively at a distant sound not heard by the man. With a toss of his head, the dog folded one ear back, uncovering the inner shell. Like a sonic direction finder, Buregarde turned his head and listened.
"Man," he said finally with a low growling voice. "Peter, there'll be hell to pay around here directly. He's stumbled over our recent conquest."
"Let's get cutting!"
Peter started trying doors and peering in; the dog raced on ahead of the man, sniffing deep at the bottom of each. It was the dog that found the room. He called, "Here!" and Peter raced forward just as the fellow on the stairs yelled something in his native tongue.
Peter hit the door with the heel of his foot and slammed it open by splintering the doorframe. The dog crouched low and poised; Peter slipped in and around feeling for a light-switch. From inside there was a voiceless whimper of fright and from outside and below there came the pounding of several sets of heavy feet. Peter found the switch and flooded the room with light. The girl—whether she was Miss Vanessa Lewis or someone else, and kidnap-wise it was still a Terrestrial girl—lay trussed on the bed, a patch of surgical tape over her mouth.
"Sorry," said Peter in a voice that he hoped was soothing. He reached, freed a corner of the tape and ripped it off in a single swipe. The girl howled. Peter slapped her lightly. "Stop it!" he commanded sharply. "Vanessa Lewis?"
"Yes, but—"
"Call out the marines, Peter," snarled the dog.
"No! Bo! Back!"
Reluctantly the dog backed into the room. He crouched low, poised to spring, with his nose just beyond the doorframe.
"Four of 'em," he whimpered pleadingly. "I can get two—"
"Well, I can't get the other two unless I'm lucky," snapped Peter. "Don't be so eager to die for nothing, Buregarde."
"All this calculation," grumbled the dog sourly. "I don't call it a loss if I get two for one."
"I call it a loss if I don't get four for nothing—or the whole damned Empire of Xanabar for nothing, for that matter. We've a job to do and it ain't dying—until Miss Lewis is out of this glorious citadel."
The girl looked from one to the other. They did not need any identification; they were their own bona fides. Only man—Terrestrial Man—had intelligent dogs to work beside him. Period, question closed. Buregarde snarled at the door warningly while Peter stripped surgical tape from wrists and ankles.
Outside, someone called, "Come out or we blast!"
Buregarde snarled, "Come in and we'll cut you to bits!"
The quick flash of a pencil-ray flicked in a lance above the dog's nose: Buregarde snapped back as the lancet of light cut downward, then snapped forward for a quick look outside as the little pencil of danger flickered dark.
"Careful, Bo!"
"You call the boys," snapped the dog. "I'll—"
Something came twisting forward to hit the doorframe, it dropped just inside the doorjamb. Buregarde leaped, snapped at the thing and caught it in midair, snapped his head in a vicious shake and sent it whirling back outside again before it could be identified. The dog sunfished and landed on all four. Then the thing went off with a dull pouf! outside. There was a gentle flash of quick light that was smothered by a billow of smoke. Buregarde leaped into the cloud and disappeared. There was a hoarse shriek and the mad scrabble of dog-claws on the hard floor, the sound of a heavy thud, and the angry snarl of a dog with its teeth fastened into something soft. Then there was the fast patter of dog-feet and Buregarde came around the door on a dead run, sliding side-wise to carom off the opened door into safety just as a pencil-ray flicked to follow him.
"Got him," said the dog in a satisfied tone. "That's one!"
He took his post by the doorframe again, the tip of his nose just outside. There was a consultation out there in the hallway, at which Buregarde called, "Make a wild rush for us!"
Miss Lewis said, "What are we going to do?"
"Fight it out," said Peter. "They can't win so long as we're alive now. I've got my crew on its way in a dead run, and if we make enough noise, some of His Excellency's Peacemakers will step in and demand their cut of the finances." He grinned. "How much are you worth, Miss Lewis?"
She shuddered. "I don't know how much father would pay—"
"Hit 'em low, Peter!" came Buregarde's snarl.
Three of them came in a-slant, bounced shoulders against the opened door, caught their bearings and hell was out for noon. Buregarde caught the first with a slash at the throat; they went down in a mad whirl of dog and thug, paws, tail, arms, legs and a spurt of blood. The second flicked his pencil-ray at Peter, its capsule charge faded to a mere sting before it cut into him. The third aimed a kick at the struggling dog. Vanessa Lewis snatched a box from the bureau and hurled it at the second. Peter thumbed his pencil-ray and winged the third man in the biceps. Buregarde leaped for the second man's gun hand and closed on it as the hurled box opened and scatter-shotted his face with bric-a-brac. The man with the bloody throat flailed out and caught Peter by the ankle. Peter stomped his face with his other heel. Miss Lewis picked up the table lamp and with a single motion turned off the light and finished felling the one with the ray-burned shoulder.
Buregarde dropped from the second man's wrist and crouched to spring. The man cowered back, his good arm covering his throat and his other arm hanging limp. He mouthed fright-noises in some tongue native to some star a thousand light-years across the galaxy.
Coldly, Peter stepped forward and belted him in the plexus.
"Now," he said calmly, "we shall vacate the premises!"
They went side by side, facing slightly outward, Buregarde between them and slightly ahead. "We're coming out!" called the dog. "Three Barbarians from Terra!"
Down on the dark street, they met their mercenary again. He eyed them sourly. "I see you were, in a sense, successful."
Peter Hawley faced the mercenary. "We were successful and would you like to make something of it?"
"I'm going to have to arrest you, you know."
"You'll lose an arm trying!" snapped the dog.
"There's murder been committed tonight," said His Excellency's Peacemaker. "The Peace of Xanabar has been disturbed."
"Why you chiseling crook, there's been kidnaping tonight, and—"
"I'm afraid that I shall have to ask that the young lady produce her passport," said the mercenary. "Otherwise she's in Xanabar Citadel illegally."
Buregarde said, "Hit him low, Peter. Here come the boys."
"No!"
"Just once—for fun?"
"No. I want our money-grubbing Peacekeeper to carry a message to His Excellency. I want His Excellency to read some Terrestrial History. Once upon a time there was a place called the Byzantine Empire that laid across the trade routes. The upper crust of people used to serve the Presence of God in a golden throne whilst their underlings dealt in human slaves and procured comely concubines for the emperor; their policemen took bribes and human life was cheap. And when Byzantium fell, all the world was forced to seek a new trade route. So tell His Excellency that he'd better clean up his own foul mess, or some barbarians will clean it up for him."
"And that," said Buregarde, "goes for your dad-ratted cat!"
End of the Project Gutenberg EBook of History Repeats, by George Oliver Smith *** END OF THIS PROJECT GUTENBERG EBOOK HISTORY REPEATS *** ***** This file should be named 23884-h.htm or 23884-h.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/2/3/8/8/23884/ Produced by Greg Weeks, Greg Bergquist, Bruce Albrecht and the Online Distributed Proofreading Team at https://www.pgdp.net Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at https://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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 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 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (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-tm 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-tm 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-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm 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 public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at https://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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 https://pglaf.org 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 including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: https://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, 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.