The Project Gutenberg EBook of Ring Once for Death, by Robert Andrew Arthur

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.net

Title: Ring Once for Death

Author: Robert Andrew Arthur

Illustrator: Ernie Barth

Release Date: March 31, 2010 [EBook #31840]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK RING ONCE FOR DEATH ***

Produced by Sankar Viswanathan, Greg Weeks, and the Online
Distributed Proofreading Team at http://www.pgdp.net

Transcriber's Note:

This etext was produced from Amazing Stories March 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

RING ONCE
FOR DEATH

BY ROBERT ARTHUR

Illustrator: Ernie Barth

The power of the old gods was certainly nothing for Mark and Edith—a modern, twentieth-century couple—to worry about. After all—everybody dies!

wenty years had left no trace inside Sam Kee's little shop on Mott Street. There were the same dusty jars of ginseng root and tigers' whiskers, the same little bronze Buddahs, the same gim-cracks mixed with fine jade. Edith Williams gave a little murmur of pleasure as the door shut behind them.

"Mark," she said, "it hasn't changed! It doesn't look as if a thing had been sold since we were here on our honeymoon."

"It certainly doesn't," Dr. Mark Williams agreed, moving down the narrow aisle behind her. "If someone hadn't told us Sam Kee was dead, I'd believe we'd stepped back twenty years in time, like they do in those scientific stories young David reads."

"We must buy something," his wife said. "For a twentieth anniversary present for me. Perhaps a bell?"

From the shadowy depths of the shop a young man emerged, American in dress and manner despite the Oriental contours of his face and eyes.

"Good evening," he said. "May I show you something?"

"We think we want a bell," Dr. Williams chuckled. "But we aren't quite sure. You're Sam Kee's son?"

"Sam Kee, junior. My honored father passed to the halls of his ancestors five years ago. I could just say that he died—" black eyes twinkled—"but customers like the more flowery mode of speech. They think it's quaint."

"I think it's just nice, and not quaint at all," Edith Williams declared. "We're sorry your father is dead. We'd hoped to see him again. Twenty years ago when we were a very broke young couple on a honeymoon he sold us a wonderful rose-crystal necklace for half price."

"I'm sure he still made a profit." The black eyes twinkled again. "But if you'd like a bell, here are small temple bells, camel bells, dinner bells...."

But even as he spoke, Edith Williams' hand darted to something at the back of the shelf.

"A bell carved out of crystal!" she exclaimed. "And rose-crystal at that. What could be more perfect? A rose-crystal wedding present and a rose-crystal anniversary present!"

The young man half stretched out his hand.

"I don't think you want that," he said. "It's broken."

"Broken?" Edith Williams rubbed off the dust and held the lovely bell-shape of crystal, the size of a pear, to the light. "It looks perfect to me."

"I mean it is not complete." Something of the American had vanished from the young man. "It has no clapper. It will not ring."

"Why, that's right." Mark Williams took the bell. "The clapper's missing."

"We can have another clapper made," his wife declared. "That is, if the original can't be found?"

The young Chinese shook his head.

"The bell and the clapper were deliberately separated by my father twenty years ago." He hesitated, then added: "My father was afraid of this bell."

"Afraid of it?" Mark Williams raised his eyebrows.

The other hesitated again.

"It will probably sound like a story for tourists," he said. "But my father believed it. This bell was supposedly stolen from the temple of a sect of Buddhists somewhere in the mountains of China's interior. Just as many Occidentals believe that the Christian Judgement Day will be heralded by a blast on St. Peter's trumpet, so this small sect is said to believe that when a bell like this one is rung, a bell carved from a single piece of rose crystal, and consecrated by ceremonies lasting ten years, any dead within sound of it will rise and live again."

"Heavenly!" Edith Williams cried. "And no pun intended. Mark, think what a help this bell will be in your practise when we make it ring again!" To the Chinese she added, smiling: "I'm just teasing him. My husband is really a very fine surgeon."

The other bowed his head.

"I must tell you," he said, "you will not be able to make it ring. Only the original clapper, carved from the same block of rose crystal, will ring it. That is why my father separated them."

Again he hesitated.

"I have told you only half of what my father told me. He said that, though it defeats death, Death can not be defeated. Robbed of his chosen victim, he takes another in his place. Thus when the bell was used in the temple of its origin—let us say when a high priest or a chief had died—a slave or servant was placed handy for Death to take when he had been forced to relinquish his grasp upon the important one."

He smiled, shook his head.

"There," he said. "A preposterous story. Now if you wish it, the bell is ten dollars. Plus, of course, sales tax."

"The story alone is worth more," Dr. Williams declared. "I think we'd better have it sent, hadn't we, Edith? It'll be safer in the mail than in our suitcase."

"Sent?" His wife seemed to come out of some deep feminine meditation. "Oh, of course. And as for its not ringing—I shall make it ring. I know I shall."

"If the story is true," Mark Williams murmured, "I hope not...."

The package came on a Saturday morning, when Mark Williams was catching up on the latest medical publications in his untidy, book-lined study. He heard Edith unwrapping paper in the hall outside. Then she came in with the rose-crystal bell in her hands.

"Mark, it's here!" she said. "Now to make it ring."

She plumped herself down beside his desk. He took the bell and reached for a silver pencil.

"Just for the sake of curiosity," he remarked, "and not because I believe that delightful sales talk we were given, let's see if it will ring when I tap. It should, you know."

He tapped the lip of the bell. A muted thunk was the only response. Then he tried with a coin, a paper knife, and the bottom of a glass. In each instance the resulting sound was nothing like a bell ringing.

"If you've finished, Mark," Edith said then, with feminine tolerance, "let me show you how it's done."

"Gladly," her husband agreed. She took the bell and turned away for a moment. Then she shook the bell vigorously. A clear, sweet ringing shivered through the room—so thin and etherial that small involuntary shivers crawled up his spine.

"Good Lord!" he exclaimed. "How did you do that?"

"I just put the clapper back in place with some thread," Edith told him.

"The clapper?" He struck his forehead with his palm. "Don't tell me—the crystal necklace we bought twenty years ago!"

"Of course." Her tone was composed. "As soon as young Sam Kee told us about his father's separating the clapper and the bell, I remembered the central crystal pendant on my necklace. It is shaped like a bell clapper—we mentioned it once.

"I guessed right away we had the missing clapper. But I didn't say so. I wanted to score on you, Mark—" she smiled affectionately at him—"and because, you know, I had a queer feeling Sam Kee, junior, wouldn't let us have the bell if he guessed we had the clapper."

"I don't think he would." Mark Williams picked up his pipe and rubbed the bowl with his thumb. "Yet he didn't really believe that story he told us any more than we do."

"No, but his father did. And if old Sam Kee had told it to us—remember how wrinkled and wise he seemed?—I do believe we'd have believed the story."

"You're probably right." Dr. Williams rang the bell and waited. The thin, sweet sound seemed to hang in the air a long moment, then was gone.

"Nope," he said. "Nothing happened. Although, of course, that may be because there was no deceased around to respond."

"I'm not sure I feel like joking about the story." A small frown gathered on Edith's forehead. "I had planned to use the bell as a dinner bell and to tell the story to our guests. But now—I'm not sure."

Frowning, she stared at the bell until the ringing of the telephone in the hall brought her out of her abstraction.

"Sit still, I'll answer." She hurried out. Dr. Williams, turning the rose crystal bell over in his hand, could hear the sudden tension in her voice as she answered. He was on his feet when she reentered.

"An emergency operation at the hospital," she sighed. "Nice young man—automobile accident. Fracture of the skull, Dr. Amos says. He wouldn't have disturbed you but you're the only brain man in town, with Dr. Hendryx away on vacation."

"I know." He was already in the hall, reaching for his hat. "Man's work is from sun to sun, but a doctor's work is never done," he misquoted.

"I'll drive you." Edith followed him out. "You sit back and relax for another ten minutes...."

Two hours later, as they drove homeward, the traffic was light, which was fortunate. More than once Mark, in a frowning abstraction, found himself on the left of the center line and had to pull back into his own lane.

He had lost patients before, but never without a feeling of personal defeat. Edith said he put too much of himself into every operation. Perhaps he did. And yet—No, there was every reason why the young man should have lived. Yet, just as Mark Williams had felt that he had been successful, the patient had died.

In twenty years of marriage, Edith Williams had learned to read his thoughts at times. Now she put a hand comfortingly on his arm.

"These things happen, darling," she said. "You know that. A doctor can only do so much. Some of the job always remains in the hands of Nature. And she does play tricks at times."

"Yes, confound it, I know it," her husband growled. "But I resent losing that lad. There was no valid reason for it—unless there was some complication I overlooked." He shook his head, scowling. "I ordered an autopsy but—Yes, I'm going to do that autopsy myself. I'm going to turn back and do it now. I have to know!"

He pulled abruptly to the left to swing into a side road and turn. Edith Williams never saw the car that hit them. She heard the frantic blare of a horn and a scream of brakes, and in a frozen instant realized that there had been someone behind them, about to pass. Then the impact came, throwing her forward into the windshield and unconsciousness.

Edith Williams opened her eyes. Even before she realized that she was lying on the ground and that the figure bending over her was a State Trooper, she remembered the crash. Her head hurt but there was no confusion in her mind. Automatically, even as she tried to sit up, she accepted the fact that there had been a crash, help had come, and she must have been unconscious for several minutes at least.

"Hey, lady, take it easy!" the Trooper protested. "You had a bad bump. You got to lie still until the ambulance gets here. It'll be along in five minutes."

"Mark," Edith said, paying no attention. "My husband! Is he all right?"

"Now lady, please. He's being taken care of. You—"

But she was not listening. Holding to his arm she pulled herself to a sitting position. She saw their car on its side some yards away, other cars pulled up around them, a little knot of staring people. Saw them and dismissed them. Her gaze found her husband, lying on the ground a few feet away, a coat folded beneath his head.

Mark was dead. She had been a doctor's wife for twenty years, and before that a nurse. She knew death when she saw it.

"Mark." The word was spoken to herself, but the Trooper took it for a question.

"Yes, lady," he said. "He's dead. He was still breathing when I got here, but he died two, three minutes ago."

She got to her knees. Her only thought was to reach his side. She scrambled across the few feet of ground to him still on her knees and crouched beside him, fumbling for his pulse. There was none. There was nothing. Just a man who had been alive and now was dead.

Behind her she heard a voice raised. She turned. A large, disheveled man was standing beside the Trooper, talking loudly.

"Now listen, officer," he was saying, "I'm telling you again, it wasn't my fault. The guy pulled sharp left right in front of me. Not a thing I could do. It's a wonder we weren't all three of us killed. You can see by the marks on their car it wasn't my fault—"

Edith Williams closed her mind to the voice. She let Mark's hand lie in her lap as she fumbled in her bag, which was somehow still clutched in her fingers. She groped for a handkerchief to stem the tears which would not be held back. Something was in the way—something smooth and hard and cold. She drew it out and heard the thin, sweet tinkle of the crystal bell. She must have dropped it automatically into her bag as they were preparing to leave the house.

The hand in her lap moved. She gasped and bent forward as her husband's eyes opened.

"Mark!" she whispered. "Mark, darling!"

"Edith," Mark Williams said with an effort. "Sorry—damned careless of me. Thinking of the hospital...."

"You're alive!" she said. "You're alive! Oh, darling, darling, lie still, the ambulance will be here any second."

"Ambulance?" he protested. "I'm all right now. Help me—sit up."

"But Mark——"

"Just a bump on the head." He struggled to sit up. The State Trooper came over.

"Easy, buddy, easy," he said, his voice awed. "We thought you were gone. Now let's not lose you a second time." His mouth was tight.

"Hey, I'm sure glad you're all right!" the red-faced man said in a rush of words. "Whew, fellow, you had me all upset, even though it wasn't my fault. I mean, how's a guy gonna keep from hitting you when—when——"

"Catch him!" Mark Williams cried, but the Trooper was too late. The other man plunged forward to the ground and lay where he had fallen without quivering.

The clock in the hall struck two with muted strokes. Cautiously Edith Williams rose on her elbow and looked down at her husband's face. His eyes opened and looked back at her.

"You're awake," she said, unnecessarily.

"I woke up a few minutes ago," he answered. "I've been lying here—thinking."

"I'll get you another phenobarbital. Dr. Amos said for you to take them and sleep until tomorrow."

"I know. I'll take one presently. You know—hearing that clock just now reminded me of something."

"Yes?"

"Just before I came to this afternoon, after the crash, I had a strange impression of hearing a bell ring. It sounded so loud in my ears I opened my eyes to see where it was."

"A—bell?"

"Yes. Just auditory hallucination, of course."

"But Mark—"

"Yes?"

"A—a bell did ring. I mean, I had the crystal bell in my bag and it tinkled a little. Do you suppose—"

"Of course not." But though he spoke swiftly he did not sound convincing. "This was a loud bell. Like a great gong."

"But—I mean, Mark darling—a moment earlier you—had no pulse."

"No pulse?"

"And you weren't—breathing. Then the crystal bell tinkled and you—you...."

"Nonsense! I know what you're thinking and believe me—it's nonsense!"

"But Mark." She spoke carefully. "The driver of the other car. You had no sooner regained consciousness than he—"

"He had a fractured skull!" Dr. Williams interrupted sharply. "The ambulance intern diagnosed it. Skull fractures often fail to show themselves and then—bingo, you keel over. That's what happened. Now let's say no more about it."

"Of course." In the hall, the clock struck the quarter hour. "Shall I fix the phenobarbital now?"

"Yes—no. Is David home?"

She hesitated. "No, he hasn't got back yet."

"Has he phoned? He knows he's supposed to be in by midnight at the latest."

"No, he—hasn't phoned. But there's a school dance tonight."

"That's no excuse for not phoning. He has the old car, hasn't he?"

"Yes. You gave him the keys this morning, remember?"

"All the more reason he should phone." Dr. Williams lay silent a moment. "Two o'clock is too late for a 17-year-old boy to be out."

"I'll speak to him. He won't do it again. Now please, Mark, let me get you the phenobarbital. I'll stay up until David—"

The ringing phone, a clamor in the darkness, interrupted her. Mark Williams reached for it. The extension was beside his bed.

"Hello," he said. And then, although she could not hear the answering voice, she felt him stiffen. And she knew. As well as if she could hear the words she knew, with a mother's instinct for disaster.

"Yes," Dr. Williams said. "Yes ... I see ... I understand ... I'll come at once.... Thank you for calling."

He slid out of bed before she could stop him.

"An emergency call." He spoke quietly. "I have to go." He began to throw on his clothes.

"It's David," she said. "Isn't it?" She sat up. "Don't try to keep me from knowing. It's about David."

"Yes," he said. His voice was very tired. "David is hurt. I have to go to him. An accident."

"He's dead." She said it steadily. "David's dead, isn't he, Mark?"

He came over and sat beside her and put his arms around her.

"Edith," he said. "Edith—Yes, he's dead. Forty minutes ago. The car—went over a curve. They have him—at the County morgue. They want me to—identify him. Identify him. Edith! You see, the car caught fire!"

"I'm coming with you," she said. "I'm coming with you!"

The taxi waited in a pool of darkness between two street lights. The long, low building which was the County morgue, a blue lamp over its door, stood below the street level. A flight of concrete steps went down to it from the sidewalk. Ten minutes before, Dr. Mark Williams had gone down those steps. Now he climbed back up them, stiffly, wearily, like an old man.

Edith was waiting in the taxi, sitting forward on the edge of the seat, hands clenched. As he reached the last step she opened the door and stepped out.

"Mark," she asked shakily, "was it—"

"Yes, it's David." His voice was a monotone. "Our son. I've completed the formalities. For now the only thing we can do is go home."

"I'm going to him!" She tried to pass. He caught her wrist. Discretely the taxi driver pretended to doze.

"No, Edith! There's no need. You mustn't—see him!"

"He's my son!" she cried. "Let me go!"

"No! What have you got under your coat?"

"It's the bell, the rose-crystal bell!" she cried. "I'm going to ring it where David can hear!"

Defiantly she brought forth her hand, clutching the little bell. "It brought you back, Mark! Now it's going to bring back David!"

"Edith!" he said in horror. "You mustn't believe that's possible. You can't. Those were coincidences. Now let me have it."

"No! I'm going to ring it." Violently she tried to break out of his grip. "I want David back! I'm going to ring the bell!"

She got her hand free. The crystal bell rang in the quiet of the early morning with an eerie thinness, penetrating the silence like a silver knife.

"There!" Edith Williams panted. "I've rung it. I know you don't believe, but I do. It'll bring David back." She raised her voice. "David!" she called. "David, son! Can you hear me?"

"Edith," Dr. Williams groaned. "You're just tormenting yourself. Come home. Please come home."

"Not until David has come back.... David, David, can you hear me?" She rang the bell again, rang it until Dr. Williams seized it, then she let him take it.

"Edith, Edith," he groaned. "If only you had let me come alone...."

"Mark, listen!"

"What?"

"Listen!" she whispered with fierce urgency.

He was silent. And then fingers of horror drew themselves down his spine at the clear, youthful voice that came up to them from the darkness below.

"Mother?... Dad?... Where are you?"

"David!" Edith Williams breathed. "It's David! Let me go! I must go to him."

"No, Edith!" her husband whispered frantically, as the voice below called again.

"Dad?... Mother?... Are you up there? Wait for me."

"Let me go!" she sobbed. "David, we're here! We're up here, son!"

"Edith!" Mark Williams gasped. "If you've ever loved me, listen to me. You mustn't go down there. David—I had to identify him by his class ring and his wallet. He was burned—terribly burned!"

"I'm going to him!" She wrenched herself free and sped for the steps, up which now was coming a tall form, a shadow shrouded in the darkness.

Dr. Williams, horror knotting his stomach, leaped to stop her. But he slipped and fell headlong on the pavement, so that she was able to pant down the stairs to meet the upcoming figure.

"Oh, David," she sobbed, "David!"

"Hey, Mom!" The boy held her steady. "I'm sorry. I'm terribly sorry. But I didn't know what had happened until I got home and you weren't there and then one of the fellows from the fraternity called me. I realized they must have made a mistake, and you'd come here, and I called for a taxi and came out here. My taxi let me off at the entrance around the block, and I've been looking for you down there.... Poor Pete!"

"Pete?" she asked.

"Pete Friedburg. He was driving the old car. I lent him the keys and my driver's license. I shouldn't have—but he's older and he kept begging me...."

"Then—then it's Pete who was killed?" she gasped. "Pete who was—burned?"

"Yes, Pete. I feel terrible about lending him the car. But he was supposed to be a good driver. And then them calling you, you and Dad thinking it was me—"

"Then Mark was right. Of course he was right." She was laughing and sobbing now. "It's just a bell, a pretty little bell, that's all."

"Bell? I don't follow you, Mom."

"Never mind," Edith Williams gasped. "It's just a bell. It hasn't any powers over life and death. It doesn't bring back and it doesn't take away. But let's get back up to your father. He may be thinking that the bell—that the bell really worked."

They climbed the rest of the steps. Dr. Mark Williams still lay where he had fallen headlong on the pavement. The cab driver was bending over him, but there was nothing to be done. The crystal bell had been beneath him when he fell, and it had broken. One long, fine splinter of crystal was embedded in his heart.

End of Project Gutenberg's Ring Once for Death, by Robert Andrew Arthur

*** END OF THIS PROJECT GUTENBERG EBOOK RING ONCE FOR DEATH ***

***** This file should be named 31840-h.htm or 31840-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/1/8/4/31840/

Produced by Sankar Viswanathan, Greg Weeks, 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.net/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.net

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.net),
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 are 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 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.net

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.