The Project Gutenberg EBook of Unborn Tomorrow, by Dallas McCord Reynolds

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: Unborn Tomorrow

Author: Dallas McCord Reynolds

Illustrator: Kelly Freas

Release Date: December 20, 2007 [EBook #23942]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK UNBORN TOMORROW ***




Produced by Greg Weeks, Bruce Albrecht, Stephen Blundell
and the Online Distributed Proofreading Team at
http://www.pgdp.net









[Illustration]

 UNBORN
 TOMORROW

BY MACK REYNOLDS

Illustrated by Freas


 _Unfortunately, there was only
 one thing he could bring back
 from the wonderful future ...
 and though he didn't want to
 ... nevertheless he did...._


Betty looked up from her magazine. She said mildly, "You're late."

"Don't yell at me, I feel awful," Simon told her. He sat down at his
desk, passed his tongue over his teeth in distaste, groaned, fumbled in
a drawer for the aspirin bottle.

He looked over at Betty and said, almost as though reciting, "What I
need is a vacation."

"What," Betty said, "are you going to use for money?"

"Providence," Simon told her whilst fiddling with the aspirin bottle,
"will provide."

"Hm-m-m. But before providing vacations it'd be nice if Providence
turned up a missing jewel deal, say. Something where you could deduce
that actually the ruby ring had gone down the drain and was caught in
the elbow. Something that would net about fifty dollars."

Simon said, mournful of tone, "Fifty dollars? Why not make it five
hundred?"

"I'm not selfish," Betty said. "All I want is enough to pay me this
week's salary."

"Money," Simon said. "When you took this job you said it was the romance
that appealed to you."

"Hm-m-m. I didn't know most sleuthing amounted to snooping around
department stores to check on the clerks knocking down."

Simon said, enigmatically, "Now it comes."

       *       *       *       *       *

There was a knock.

Betty bounced up with Olympic agility and had the door swinging wide
before the knocking was quite completed.

He was old, little and had bug eyes behind pince-nez glasses. His suit
was cut in the style of yesteryear but when a suit costs two or three
hundred dollars you still retain caste whatever the styling.

Simon said unenthusiastically, "Good morning, Mr. Oyster." He indicated
the client's chair. "Sit down, sir."

The client fussed himself with Betty's assistance into the seat,
bug-eyed Simon, said finally, "You know my name, that's pretty good.
Never saw you before in my life. Stop fussing with me, young lady. Your
ad in the phone book says you'll investigate anything."

"Anything," Simon said. "Only one exception."

"Excellent. Do you believe in time travel?"

Simon said nothing. Across the room, where she had resumed her seat,
Betty cleared her throat. When Simon continued to say nothing she
ventured, "Time travel is impossible."

"Why?"

"Why?"

"Yes, why?"

Betty looked to her boss for assistance. None was forthcoming. There
ought to be some very quick, positive, definite answer. She said, "Well,
for one thing, paradox. Suppose you had a time machine and traveled back
a hundred years or so and killed your own great-grandfather. Then how
could you ever be born?"

"Confound it if I know," the little fellow growled. "How?"

Simon said, "Let's get to the point, what you wanted to see me about."

"I want to hire you to hunt me up some time travelers," the old boy
said.

Betty was too far in now to maintain her proper role of silent
secretary. "Time travelers," she said, not very intelligently.

The potential client sat more erect, obviously with intent to hold the
floor for a time. He removed the pince-nez glasses and pointed them at
Betty. He said, "Have you read much science fiction, Miss?"

"Some," Betty admitted.

"Then you'll realize that there are a dozen explanations of the
paradoxes of time travel. Every writer in the field worth his salt has
explained them away. But to get on. It's my contention that within a
century or so man will have solved the problems of immortality and
eternal youth, and it's also my suspicion that he will eventually be
able to travel in time. So convinced am I of these possibilities that I
am willing to gamble a portion of my fortune to investigate the presence
in our era of such time travelers."

Simon seemed incapable of carrying the ball this morning, so Betty said,
"But ... Mr. Oyster, if the future has developed time travel why don't
we ever meet such travelers?"

Simon put in a word. "The usual explanation, Betty, is that they can't
afford to allow the space-time continuum track to be altered. If, say, a
time traveler returned to a period of twenty-five years ago and shot
Hitler, then all subsequent history would be changed. In that case, the
time traveler himself might never be born. They have to tread mighty
carefully."

Mr. Oyster was pleased. "I didn't expect you to be so well informed on
the subject, young man."

Simon shrugged and fumbled again with the aspirin bottle.

       *       *       *       *       *

Mr. Oyster went on. "I've been considering the matter for some time
and--"

Simon held up a hand. "There's no use prolonging this. As I understand
it, you're an elderly gentleman with a considerable fortune and you
realize that thus far nobody has succeeded in taking it with him."

Mr. Oyster returned his glasses to their perch, bug-eyed Simon, but then
nodded.

Simon said, "You want to hire me to find a time traveler and in some
manner or other--any manner will do--exhort from him the secret of
eternal life and youth, which you figure the future will have
discovered. You're willing to pony up a part of this fortune of yours,
if I can deliver a bona fide time traveler."

"Right!"

Betty had been looking from one to the other. Now she said, plaintively,
"But where are you going to find one of these characters--especially if
they're interested in keeping hid?"

The old boy was the center again. "I told you I'd been considering it
for some time. The _Oktoberfest_, that's where they'd be!" He seemed
elated.

Betty and Simon waited.

"The _Oktoberfest_," he repeated. "The greatest festival the world has
ever seen, the carnival, _feria_, _fiesta_ to beat them all. Every year
it's held in Munich. Makes the New Orleans Mardi gras look like a
quilting party." He began to swing into the spirit of his description.
"It originally started in celebration of the wedding of some local
prince a century and a half ago and the Bavarians had such a bang-up
time they've been holding it every year since. The Munich breweries do
up a special beer, _Marzenbraeu_ they call it, and each brewery opens a
tremendous tent on the fair grounds which will hold five thousand
customers apiece. Millions of liters of beer are put away, hundreds of
thousands of barbecued chickens, a small herd of oxen are roasted whole
over spits, millions of pair of _weisswurst_, a very special sausage,
millions upon millions of pretzels--"

"All right," Simon said. "We'll accept it. The _Oktoberfest_ is one
whale of a wingding."

       *       *       *       *       *

"Well," the old boy pursued, into his subject now, "that's where they'd
be, places like the _Oktoberfest_. For one thing, a time traveler
wouldn't be conspicuous. At a festival like this somebody with a strange
accent, or who didn't know exactly how to wear his clothes correctly, or
was off the ordinary in any of a dozen other ways, wouldn't be noticed.
You could be a four-armed space traveler from Mars, and you still
wouldn't be conspicuous at the _Oktoberfest_. People would figure they
had D.T.'s."

"But why would a time traveler want to go to a--" Betty began.

"Why not! What better opportunity to study a people than when they are
in their cups? If _you_ could go back a few thousand years, the things
you would wish to see would be a Roman Triumph, perhaps the Rites of
Dionysus, or one of Alexander's orgies. You wouldn't want to wander up
and down the streets of, say, Athens while nothing was going on,
particularly when you might be revealed as a suspicious character not
being able to speak the language, not knowing how to wear the clothes
and not familiar with the city's layout." He took a deep breath. "No
ma'am, you'd have to stick to some great event, both for the sake of
actual interest and for protection against being unmasked."

The old boy wound it up. "Well, that's the story. What are your rates?
The _Oktoberfest_ starts on Friday and continues for sixteen days. You
can take the plane to Munich, spend a week there and--"

Simon was shaking his head. "Not interested."

As soon as Betty had got her jaw back into place, she glared
unbelievingly at him.

Mr. Oyster was taken aback himself. "See here, young man, I realize this
isn't an ordinary assignment, however, as I said, I am willing to risk a
considerable portion of my fortune--"

"Sorry," Simon said. "Can't be done."

"A hundred dollars a day plus expenses," Mr. Oyster said quietly. "I
like the fact that you already seem to have some interest and knowledge
of the matter. I liked the way you knew my name when I walked in the
door; my picture doesn't appear often in the papers."

"No go," Simon said, a sad quality in his voice.

"A fifty thousand dollar bonus if you bring me a time traveler."

"Out of the question," Simon said.

"But _why_?" Betty wailed.

"Just for laughs," Simon told the two of them sourly, "suppose I tell
you a funny story. It goes like this:"

       *   *   *   *   *   *   *   *   *

I got a thousand dollars from Mr. Oyster (Simon began) in the way of an
advance, and leaving him with Betty who was making out a receipt, I
hustled back to the apartment and packed a bag. Hell, I'd wanted a
vacation anyway, this was a natural. On the way to Idlewild I stopped
off at the Germany Information Offices for some tourist literature.

It takes roughly three and a half hours to get to Gander from Idlewild.
I spent the time planning the fun I was going to have.

It takes roughly seven and a half hours from Gander to Shannon and I
spent that time dreaming up material I could put into my reports to Mr.
Oyster. I was going to have to give him some kind of report for his
money. Time travel yet! What a laugh!

Between Shannon and Munich a faint suspicion began to simmer in my mind.
These statistics I read on the _Oktoberfest_ in the Munich tourist
pamphlets. Five million people attended annually.

Where did five million people come from to attend an overgrown festival
in comparatively remote Southern Germany? The tourist season is over
before September 21st, first day of the gigantic beer bust. Nor could
the Germans account for any such number. Munich itself has a population
of less than a million, counting children.

And those millions of gallons of beer, the hundreds of thousands of
chickens, the herds of oxen. Who ponied up all the money for such
expenditures? How could the average German, with his twenty-five dollars
a week salary?

In Munich there was no hotel space available. I went to the Bahnhof
where they have a hotel service and applied. They put my name down,
pocketed the husky bribe, showed me where I could check my bag, told me
they'd do what they could, and to report back in a few hours.

I had another suspicious twinge. If five million people attended this
beer bout, how were they accommodated?

The _Theresienwiese_, the fair ground, was only a few blocks away. I was
stiff from the plane ride so I walked.

       *       *       *       *       *

There are seven major brewers in the Munich area, each of them
represented by one of the circuslike tents that Mr. Oyster mentioned.
Each tent contained benches and tables for about five thousand persons
and from six to ten thousands pack themselves in, competing for room. In
the center is a tremendous bandstand, the musicians all _lederhosen_
clad, the music as Bavarian as any to be found in a Bavarian beer hall.
Hundreds of peasant garbed _fraeuleins_ darted about the tables with
quart sized earthenware mugs, platters of chicken, sausage, kraut and
pretzels.

I found a place finally at a table which had space for twenty-odd beer
bibbers. Odd is right. As weird an assortment of Germans and foreign
tourists as could have been dreamed up, ranging from a seventy- or
eighty-year-old couple in Bavarian costume, to the bald-headed drunk
across the table from me.

A desperate waitress bearing six mugs of beer in each hand scurried
past. They call them _masses_, by the way, not mugs. The bald-headed
character and I both held up a finger and she slid two of the _masses_
over to us and then hustled on.

"Down the hatch," the other said, holding up his _mass_ in toast.

"To the ladies," I told him. Before sipping, I said, "You know, the
tourist pamphlets say this stuff is eighteen per cent. That's nonsense.
No beer is that strong." I took a long pull.

He looked at me, waiting.

I came up. "Mistaken," I admitted.

A _mass_ or two apiece later he looked carefully at the name engraved on
his earthenware mug. "Loewenbraeu," he said. He took a small notebook from
his pocket and a pencil, noted down the word and returned the things.

"That's a queer looking pencil you have there," I told him. "German?"

"Venusian," he said. "Oops, sorry. Shouldn't have said that."

I had never heard of the brand so I skipped it.

"Next is the Hofbraeu," he said.

"Next what?" Baldy's conversation didn't seem to hang together very
well.

"My pilgrimage," he told me. "All my life I've been wanting to go back
to an _Oktoberfest_ and sample every one of the seven brands of the best
beer the world has ever known. I'm only as far as Loewenbraeu. I'm afraid
I'll never make it."

I finished my _mass_. "I'll help you," I told him. "Very noble endeavor.
Name is Simon."

"Arth," he said. "How could you help?"

"I'm still fresh--comparatively. I'll navigate you around. There are
seven beer tents. How many have you got through, so far?"

"Two, counting this one," Arth said.

I looked at him. "It's going to be a chore," I said. "You've already got
a nice edge on."

Outside, as we made our way to the next tent, the fair looked like every
big State-Fair ever seen, except it was bigger. Games, souvenir stands,
sausage stands, rides, side shows, and people, people, people.

The Hofbraeu tent was as overflowing as the last but we managed to find
two seats.

The band was blaring, and five thousand half-swacked voices were roaring
accompaniment.

    _In Muenchen steht ein Hofbraeuhaus!
    Eins, Zwei, G'sufa!_

At the _G'sufa_ everybody upped with the mugs and drank each other's
health.

"This is what I call a real beer bust," I said approvingly.

Arth was waving to a waitress. As in the Loewenbraeu tent, a full quart
was the smallest amount obtainable.

A beer later I said, "I don't know if you'll make it or not, Arth."

"Make what?"

"All seven tents."

"Oh."

A waitress was on her way by, mugs foaming over their rims. I gestured
to her for refills.

"Where are you from, Arth?" I asked him, in the way of making
conversation.

"2183."

"2183 where?"

He looked at me, closing one eye to focus better. "Oh," he said. "Well,
2183 South Street, ah, New Albuquerque."

"New Albuquerque? Where's that?"

Arth thought about it. Took another long pull at the beer. "Right across
the way from old Albuquerque," he said finally. "Maybe we ought to be
getting on to the Pschorrbraeu tent."

"Maybe we ought to eat something first," I said. "I'm beginning to feel
this. We could get some of that barbecued ox."

Arth closed his eyes in pain. "Vegetarian," he said. "Couldn't possibly
eat meat. Barbarous. Ugh."

"Well, we need some nourishment," I said.

"There's supposed to be considerable nourishment in beer."

That made sense. I yelled, "_Fraeulein! Zwei neu bier!_"

       *       *       *       *       *

Somewhere along in here the fog rolled in. When it rolled out again, I
found myself closing one eye the better to read the lettering on my
earthenware mug. It read Augustinerbraeu. Somehow we'd evidently
navigated from one tent to another.

Arth was saying, "Where's your hotel?"

That seemed like a good question. I thought about it for a while.
Finally I said, "Haven't got one. Town's jam packed. Left my bag at the
Bahnhof. I don't think we'll ever make it, Arth. How many we got to go?"

"Lost track," Arth said. "You can come home with me."

We drank to that and the fog rolled in again.

When the fog rolled out, it was daylight. Bright, glaring, awful
daylight. I was sprawled, complete with clothes, on one of twin beds. On
the other bed, also completely clothed, was Arth.

That sun was too much. I stumbled up from the bed, staggered to the
window and fumbled around for a blind or curtain. There was none.

Behind me a voice said in horror, "Who ... how ... oh, _Wodo_, where'd
you come from?"

I got a quick impression, looking out the window, that the Germans were
certainly the most modern, futuristic people in the world. But I
couldn't stand the light. "Where's the shade," I moaned.

Arth did something and the window went opaque.

"That's quite a gadget," I groaned. "If I didn't feel so lousy, I'd
appreciate it."

Arth was sitting on the edge of the bed holding his bald head in his
hands. "I remember now," he sorrowed. "You didn't have a hotel. What a
stupidity. I'll be phased. Phased all the way down."

"You haven't got a handful of aspirin, have you?" I asked him.

"Just a minute," Arth said, staggering erect and heading for what
undoubtedly was a bathroom. "Stay where you are. Don't move. Don't touch
anything."

"All right," I told him plaintively. "I'm clean. I won't mess up the
place. All I've got is a hangover, not lice."

Arth was gone. He came back in two or three minutes, box of pills in
hand. "Here, take one of these."

I took the pill, followed it with a glass of water.

       *       *       *       *       *

And went out like a light.

Arth was shaking my arm. "Want another _mass_?"

The band was blaring, and five thousand half-swacked voices were roaring
accompaniment.

    _In Muenchen steht ein Hofbraeuhaus!
    Eins, Zwei, G'sufa!_

At the _G'sufa_ everybody upped with their king-size mugs and drank each
other's health.

My head was killing me. "This is where I came in, or something," I
groaned.

Arth said, "That was last night." He looked at me over the rim of his
beer mug.

Something, somewhere, was wrong. But I didn't care. I finished my _mass_
and then remembered. "I've got to get my bag. Oh, my head. Where did we
spend last night?"

Arth said, and his voice sounded cautious, "At my hotel, don't you
remember?"

"Not very well," I admitted. "I feel lousy. I must have dimmed out. I've
got to go to the Bahnhof and get my luggage."

Arth didn't put up an argument on that. We said good-by and I could feel
him watching after me as I pushed through the tables on the way out.

At the Bahnhof they could do me no good. There were no hotel rooms
available in Munich. The head was getting worse by the minute. The fact
that they'd somehow managed to lose my bag didn't help. I worked on that
project for at least a couple of hours. Not only wasn't the bag at the
luggage checking station, but the attendant there evidently couldn't
make heads nor tails of the check receipt. He didn't speak English and
my high school German was inadequate, especially accompanied by a
blockbusting hangover.

I didn't get anywhere tearing my hair and complaining from one end of
the Bahnhof to the other. I drew a blank on the bag.

And the head was getting worse by the minute. I was bleeding to death
through the eyes and instead of butterflies I had bats in my stomach.
Believe me, _nobody_ should drink a gallon or more of Marzenbraeu.

       *       *       *       *       *

I decided the hell with it. I took a cab to the airport, presented my
return ticket, told them I wanted to leave on the first obtainable plane
to New York. I'd spent two days at the _Oktoberfest_, and I'd had it.

I got more guff there. Something was wrong with the ticket, wrong date
or some such. But they fixed that up. I never was clear on what was
fouled up, some clerk's error, evidently.

The trip back was as uninteresting as the one over. As the hangover
began to wear off--a little--I was almost sorry I hadn't been able to
stay. If I'd only been able to get a room I _would_ have stayed, I told
myself.

From Idlewild, I came directly to the office rather than going to my
apartment. I figured I might as well check in with Betty.

I opened the door and there I found Mr. Oyster sitting in the chair he
had been occupying four--or was it five--days before when I'd left. I'd
lost track of the time.

I said to him, "Glad you're here, sir. I can report. Ah, what was it you
came for? Impatient to hear if I'd had any results?" My mind was
spinning like a whirling dervish in a revolving door. I'd spent a wad of
his money and had nothing I could think of to show for it; nothing but
the last stages of a grand-daddy hangover.

"Came for?" Mr. Oyster snorted. "I'm merely waiting for your girl to
make out my receipt. I thought you had already left."

"You'll miss your plane," Betty said.

There was suddenly a double dip of ice cream in my stomach. I walked
over to my desk and looked down at the calendar.

Mr. Oyster was saying something to the effect that if I didn't leave
today, it would have to be tomorrow, that he hadn't ponied up that
thousand dollars advance for anything less than immediate service.
Stuffing his receipt in his wallet, he fussed his way out the door.

I said to Betty hopefully, "I suppose you haven't changed this calendar
since I left."

Betty said, "What's the matter with you? You look funny. How did your
clothes get so mussed? You tore the top sheet off that calendar
yourself, not half an hour ago, just before this marble-missing client
came in." She added, irrelevantly, "Time travelers yet."

I tried just once more. "Uh, when did you first see this Mr. Oyster?"

"Never saw him before in my life," she said. "Not until he came in this
morning."

"This morning," I said weakly.

While Betty stared at me as though it was _me_ that needed candling by a
head shrinker preparatory to being sent off to a pressure cooker, I
fished in my pocket for my wallet, counted the contents and winced at
the pathetic remains of the thousand. I said pleadingly, "Betty, listen,
how long ago did I go out that door--on the way to the airport?"

"You've been acting sick all morning. You went out that door about ten
minutes ago, were gone about three minutes, and then came back."

       *   *   *   *   *   *   *   *   *

"See here," Mr. Oyster said (interrupting Simon's story), "did you say
this was supposed to be amusing, young man? I don't find it so. In fact,
I believe I am being ridiculed."

Simon shrugged, put one hand to his forehead and said, "That's only the
first chapter. There are two more."

"I'm not interested in more," Mr. Oyster said. "I suppose your point was
to show me how ridiculous the whole idea actually is. Very well, you've
done it. Confound it. However, I suppose your time, even when spent in
this manner, has some value. Here is fifty dollars. And good day, sir!"

He slammed the door after him as he left.

Simon winced at the noise, took the aspirin bottle from its drawer, took
two, washed them down with water from the desk carafe.

Betty looked at him admiringly. Came to her feet, crossed over and took
up the fifty dollars. "Week's wages," she said. "I suppose that's one
way of taking care of a crackpot. But I'm surprised you didn't take his
money and enjoy that vacation you've been yearning about."

"I did," Simon groaned. "Three times."

Betty stared at him. "You mean--"

Simon nodded, miserably.

She said, "But _Simon_. Fifty thousand dollars bonus. If that story was
true, you should have gone back again to Munich. If there was one time
traveler, there might have been--"

"I keep telling you," Simon said bitterly, "I went back there three
times. There were hundreds of them. Probably thousands." He took a deep
breath. "Listen, we're just going to have to forget about it. They're
not going to stand for the space-time continuum track being altered. If
something comes up that looks like it might result in the track being
changed, they set you right back at the beginning and let things
start--for you--all over again. They just can't allow anything to come
back from the future and change the past."

"You mean," Betty was suddenly furious at him, "you've given up! Why
this is the biggest thing-- Why the fifty thousand dollars is nothing.
The future! Just think!"

Simon said wearily, "There's just one thing you can bring back with you
from the future, a hangover compounded of a gallon or so of Marzenbraeu.
What's more you can pile one on top of the other, and another on top of
that!"

He shuddered. "If you think I'm going to take another crack at this
merry-go-round and pile a fourth hangover on the three I'm already
nursing, all at once, you can think again."


THE END




Transcriber's Note:

    This etext was produced from _Astounding Science Fiction_ June 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.





End of Project Gutenberg's Unborn Tomorrow, by Dallas McCord Reynolds

*** END OF THIS PROJECT GUTENBERG EBOOK UNBORN TOMORROW ***

***** This file should be named 23942.txt or 23942.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/3/9/4/23942/

Produced by Greg Weeks, Bruce Albrecht, Stephen Blundell
and the Online Distributed Proofreading Team at
http://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
http://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 http://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
http://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 http://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 http://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 checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is 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:

     http://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.