The Project Gutenberg EBook of Mutineer, by Robert J. Shea

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: Mutineer

Author: Robert J. Shea

Release Date: June 21, 2009 [EBook #29196]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK MUTINEER ***

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

MUTINEER

By ROBERT J. SHEA

For every weapon there was a defense, but not against the deadliest weapon—man himself!

Raging, Trooper Lane hovered three thousand feet above Tammany Square.

The cool cybrain surgically implanted in him was working on the problem. But Lane had no more patience. They'd sweat, he thought, hating the chill air-currents that threw his hovering body this way and that. He glared down at the three towers bordering on the Square. He spat, and watched the little white speck fall, fall. Lock me up in barracks. All I wanted was a little time off. Did I fight in Chi for them? Damn right I did. Just a little time off, so I shouldn't blow my top. Now the lid's gone.

He was going over all their heads. He'd bowled those city cops over like paper dolls, back at the Armory. The black dog was on Lane's back. Old Mayor himself was going to hear about it.

Why not? Ain't old Mayor the CinC of the Newyork Troopers?

The humming paragrav-paks embedded beneath his shoulder blades held him motionless above Newyork's three administrative towers. Tammany Hall. Mayor's Palace. Court House. Lane cursed his stupidity. He hadn't found out which one was which ahead of time. They keep Troopers in the Armory and teach them how to fight. They don't teach them about their own city, that they'll be fighting for. There's no time. From seven years old up, Troopers have too much to learn about fighting.

The Mayor was behind one of those thousands of windows.

Old cybrain, a gift from the Trooper surgeons, compliments of the city, would have to figure out which one. Blood churned in his veins, nerves shrieked with impatience. Lane waited for the electronic brain to come up with the answer.

Then his head jerked up, to a distant buzz. There were cops coming. Two black paragrav-boats whirred along the translucent underside of Newyork's anti-missile force-shield, the Shell.

Old cybrain better be fast. Damn fast!

The cybrain jolted an impulse through his spine. Lane somersaulted. Cybrain had taken charge of his motor nerves. Lane's own mind was just along for the ride.

His body snapped into a stiff dive position. He began to plummet down, picking up speed. His mailed hands glittered like arrowheads out in front. They pointed to a particular window in one of the towers. A predatory excitement rippled through him as he sailed down through the air. It was like going into battle again. A little red-white-and-green flag fluttered on a staff below the window. Whose flag? The city flag was orange and blue. He shrugged away the problem. Cybrain knew what it was doing.

The little finger of his right hand vibrated in its metal sheath. A pale vibray leaped from the lensed fingertip. Breakthrough! The glasstic pane dissolved. Lane streamed through the window.

The paragrav-paks cut off. Lane dropped lightly to the floor, inside the room, in battle-crouch. A 3V set was yammering. A girl screamed. Lane's hand shot out automatically. A finger vibrated. Out of the corner of his eye, Lane saw the girl fold to the floor. There was no one else in the room. Lane, still in a crouch, chewed his lip.

The Mayor?

His head swung around and he peered at the 3V set. He saw his own face.

"Lashing police with his vibray," said the announcer, "Lane broke through the cordon surrounding Manhattan Armory. Two policemen were killed, four others seriously injured. Tammany Hall has warned that this man is extremely dangerous. Citizens are cautioned to keep clear of him. Lane is an insane killer. He is armed with the latest military weapons. A built-in electronic brain controls his reflexes—"

"At ease with that jazz," said Lane, and a sheathed finger snapped out. There was a loud bang. The 3V screen dissolved into a puddle of glasstic.

The Mayor.

Lane strode to the window. The two police boats were hovering above the towers. Lane's mailed hand snapped open a pouch at his belt. He flipped a fist-sized cube to the floor.

The force-bomb "exploded"—swelled or inflated, really, but with the speed of a blast. Lane glanced out the window. A section of the energy globe bellied out from above. It shaded the view from his window and re-entered the tower wall just below.

Now the girl.

He turned back to the room. "Wake up, outa-towner." He gave the blonde girl a light dose of the vibray to slap her awake.

"Who are you?" she said, shakily.

Lane grinned. "Trooper Lane, of the Newyork Special Troops, is all." He threw her a mock salute. "You from outa-town, girlie. I ain't seen a Newyork girl with yellow hair in years. Orange or green is the action. Whatcha doing in the Mayor's room?"

The girl pushed herself to her feet. Built, Lane saw. She was pretty and clean-looking, very out-of-town. She held herself straight and her blue-violet eyes snapped at him.

"What the devil do you think you're doing, soldier? I am a diplomat of the Grassroots Republic of Mars. This is an embassy, if you know what that means."

"I don't," said Lane, unconcerned.

"Well, you should have had brains enough to honor the flag outside this window. That's the Martian flag, soldier. If you've never heard of diplomatic immunity, you'll suffer for your ignorance." Her large, dark eyes narrowed. "Who sent you?"

"My cybrain sent me."

She went openmouthed. "You're Lane."

"I'm the guy they told you about on the 3V. Where's the Mayor? Ain't this his place?"

"No. No, you're in the wrong room. The wrong building. That's the Mayor's suite over there." She pointed. "See where the balcony is? This is the Embassy suite. If you want the Mayor you'll have to go over there."

"Whaddaya know," said Lane. "Cybrain didn't know, no more than me."

The girl noticed the dark swell of the force-globe. "What's that out there?"

"Force-screen. Nothing gets past, except maybe a full-size blaster-beam. Keeps cops out. Keeps you in. You anybody important?"

"I told you, I'm an ambassador. From Mars. I'm on a diplomatic mission."

"Yeah? Mars a big city?"

She stared at him, violet eyes wide. "The planet Mars."

"Planet? Oh, that Mars. Sure, I've heard of it—you gotta go by spaceship. What's your name?"

"Gerri Kin. Look, Lane, holding me is no good. It'll just get you in worse trouble. What are you trying to do?"

"I wanna see the Mayor. Me and my buddies, we just come back from fighting in Chi, Gerri. We won. They got a new Mayor out there in Chi. He takes orders from Newyork."

Gerri Kin said, "That's what the force-domes did. The perfect defense. But also the road to the return to city-states. Anarchy."

Lane said, "Yeah? Well, we done what they wanted us to do. We did the fighting for them. So we come back home to Newyork and they lock us up in the Armory. Won't pay us. Won't let us go nowhere. They had cops guarding us. City cops." Lane sneered. "I busted out. I wanna see the Mayor and find out why we can't have time off. I don't play games, Gerri. I go right to the top."

Lane broke off. There was a hum outside the window. He whirled and stared out. The rounded black hulls of the two police paragrav-boats were nosing toward the force-screen. Lane could read the white numbers painted on their bows.

A loudspeaker shouted into the room: "Come out of there, Lane, or we'll blast you out."

"You can't," Lane called. "This girl from Mars is here."

"I repeat, Lane—come out or we'll blast you out."

Lane turned to the girl. "I thought you were important."

She stood there with her hands together, calmly looking at him. "I am. But you are too, to them. Mars is millions of miles away, and you're right across the Square from the Mayor's suite."

"Yeah, but—" Lane shook his head and turned back to the window. "All right, look! Move them boats away and I'll let this girl out!"

"No deal, Lane. We're coming in." The police boats backed away slowly, then shot straight up, out of the line of vision.

Lane looked down at the Square. Far below, the long, gleaming barrel of a blaster cannon caught the dim light filtering down through Newyork's Shell. The cannon trundled into the Square on its olive-drab, box-shaped caterpillar mounting and took up a position equidistant from the bases of the three towers.

Now a rumble of many voices rose from below. Lane stared down to see a large crowd gathering in Tammany Square. Sound trucks were rolling to a stop around the edges of the crowd. The people were all looking up.

Lane looked across the Square. The windows of the tower opposite, the ones he could see clearly, were crowded with faces. There were white dot faces on the balcony that Gerri Kin had pointed out as the Mayor's suite.

The voice of a 3V newscaster rolled up from the Square, reechoing against the tower walls.

"Lane is holding the Martian Ambassador, Gerri Kin, hostage. You can see the Martian tricolor behind his force-globe. Police are bringing up blaster cannon. Lane's defense is a globe of energy similar to the one which protects Newyork from aerial attack."

Lane grinned back at Gerri Kin. "Whole town's down there." Then his grin faded. Nice-looking, nice-talking girl like this probably cared a lot more about dying than he did. Why the hell didn't they give him a chance to let her out? Maybe he could do it now.

Cybrain said no. It said the second he dropped his force-screen, they'd blast this room to hell. Poor girl from Mars, she didn't have a chance.

Gerri Kin put her hand to her forehead. "Why did you have to pick my room? Why did they send me to this crazy city? Private soldiers. Twenty million people living under a Shell like worms in a corpse. Earth is sick and it's going to kill me. What's going to happen?"

Lane looked sadly at her. Only two kinds of girls ever went near a Trooper—the crazy ones and the ones the city paid. Why did he have to be so near getting killed when he met one he liked? Now that she was showing a little less fear and anger, she was talking straight to him. She was good, but she wasn't acting as if she was too good for him.

"They'll start shooting pretty quick," said Lane. "I'm sorry about you."

"I wish I could write a letter to my parents," she said.

"What?"

"Didn't you understand what I said?"

"What's a letter?"

"You don't know where Mars is. You don't know what a letter is. You probably can't even read and write!"

Lane shrugged. He carried on the conversation disinterestedly, professionally relaxed before battle. "What's these things I can't do? They important?"

"Yes. The more I see of this city and its people, the more important I realize they are. You know how to fight, don't you? I'll bet you're perfect with those weapons."

"Listen. They been training me to fight since I was a little kid. Why shouldn't I be a great little fighter?"

"Specialization," said the girl from Mars.

"What?"

"Specialization. Everyone I've met in this city is a specialist. SocioSpecs run the government. TechnoSpecs run the machinery. Troopers fight the wars. And ninety per cent of the people don't work at all because they're not trained to do anything."

"The Fans," said Lane. "They got it soft. That's them down there, come to watch the fight."

"You know why you were kept in the Armory, Lane? I heard them talking about it, at the dinner I went to last night."

"Why?"

"Because they're afraid of the Troopers. You men did too good a job out in Chi. You are the deadliest weapon that has ever been made. You. Single airborne infantrymen!"

Lane said, "They told us in Trooper Academy that it's the men that win the wars."

"Yes, but people had forgotten it until the SocioSpecs of Newyork came up with the Troopers. Before the Troopers, governments concentrated on the big weapons, the missiles, the bombs. And the cities, with the Shells, were safe from bombs. They learned to be self-sufficient under the Shells. They were so safe, so isolated, that national governments collapsed. But you Troopers wiped out that feeling of security, when you infiltrated Chi and conquered it."

"We scared them, huh?"

Gerri said, "You scared them so much that they were afraid to let you have a furlough in the city when you came back. Afraid you Troopers would realize that you could easily take over the city if you wanted to. You scared them so much that they'll let me be killed. They'll actually risk trouble with Mars just to kill you."

"I'm sorry about you. I mean it, I like—"

At that moment a titanic, ear-splitting explosion hurled him to the carpet, deafened and blinded him.

He recovered and saw Gerri a few feet away, dazed, groping on hands and knees.

Lane jumped to the window, looked quickly, sprang back. Cybrain pumped orders to his nervous system.

"Blaster cannon," he said. "But just one. Gotcha, cybrain. I can beat that."

He picked up the black box that generated his protective screen. Snapping it open with thumb-pressure, he turned a small dial. Then he waited.

Again an enormous, brain-shattering concussion.

Again Lane and Gerri were thrown to the floor. But this time there was a second explosion and a blinding flash from below.

Lane laughed boyishly and ran to the window.

"Look!" he called to Gerri.

There was a huge gap in the crowd below. The pavement was blackened and shattered to rubble. In and around the open space sprawled dozens of tiny black figures, not moving.

"Backfire," said Lane. "I set the screen to throw their blaster beam right back at them."

"And they knew you might—and yet they let a crowd congregate!"

Gerri reeled away from the window, sick.

Lane said, "I can do that a couple times more, but it burns out the force-globe. Then I'm dead."

He heard the 3V newscaster's amplified voice: "—approximately fifty killed. But Lane is through now. He has been able to outthink police with the help of his cybrain. Now police are feeding the problem to their giant analogue computer in the sub-basement of the Court House. The police analogue computer will be able to outthink Lane's cybrain, will predict Lane's moves in advance. Four more blaster cannon are coming down Broadway—"

"Why don't they clear those people out of the Square?" Gerri cried.

"What? Oh, the Fans—nobody clears them out." He paused. "I got one more chance to try." He raised a mailed glove to his mouth and pressed a small stud in the wrist. He said, "Trooper HQ, this is Lane."

A voice spoke in his helmet. "Lane, this is Trooper HQ. We figured you'd call."

"Get me Colonel Klett."

Thirty seconds passed. Lane could hear the clank of caterpillar treads as the mobile blaster cannon rolled into Tammany Square.

The voice of the commanding officer of the Troopers rasped into Lane's ear: "Meat-head! You broke out against my orders! Now look at you!"

"I knew you didn't mean them orders, sir."

"If you get out of there alive, I'll hang you for disobeying them!"

"Yes, sir. Sir, there's a girl here—somebody important—from Mars. You know, the planet. Sir, she told me we could take over the city if we got loose. That right, sir?"

There was a pause. "Your girl from Mars is right, Lane. But it's too late now. If we had moved first, captured the city government, we might have done it. But they're ready for us. They'd chop us down with blaster cannon."

"Sir, I'm asking for help. I know you're on my side."

"I am, Lane." The voice of Colonel Klett was lower. "I'd never admit it if you had a chance of getting out of there alive. You've had it, son. I'd only lose more men trying to rescue you. When they feed the data into that analogue computer, you're finished."

"Yes, sir."

"I'm sorry, Lane."

"Yes, sir. Over and out."

Lane pressed the stud on his gauntlet again. He turned to Gerri.

"You're okay. I wish I could let you out. Old cybrain says I can't. Says if I drop the force-globe for a second, they'll fire into the room, and then we'll both be dead."

Gerri stood with folded arms and looked at him. "Do what you have to do. As far as I can see, you're the only person in this city that has even a little bit of right on his side."

Lane laughed. "Any of them purple-haired broads I know would be crazy scared. You're different."

"When my grandparents landed on Mars, they found out that selfishness was a luxury. Martians can't afford it."

Lane frowned with the effort of thinking. "You said I had a little right on my side. That's a good feeling. Nobody ever told me to feel that way about myself before. It'll be better to die knowing that."

"I know," she said.

The amplified voice from below said, "The police analogue computer is now hooked directly to the controls of the blaster cannon battery. It will outguess Lane's cybrain and check his moves ahead of time."

Lane looked at Gerri. "How about giving me a kiss before they get us? Be nice if I kissed a girl like you just once in my life."

She smiled and walked forward. "You deserve it, Lane."

He kissed her and it filled him with longings for things he couldn't name. Then he stepped back and shook his head. "It ain't right you should get killed. If I take a dive out that window, they shoot at me, not in here."

"And kill you all the sooner."

"Better than getting burned up in this lousy little room. You also got right on your side. There's too many damn Troopers and not enough good persons like you. Old cybrain says stay here, but I don't guess I will. I'm gonna pay you back for that kiss."

"But you're safe in here!"

"Worry about yourself, not about me." Lane picked up the force-bomb and handed it to her. "When I say now, press this. Then take your hand off, real fast. It'll shut off the screen for a second."

He stepped up on to the window ledge. Automatically, the cybrain cut in his paragrav-paks. "So long, outa-towner. Now!"

He jumped. He was hurtling across the Square when the blaster cannons opened up. They weren't aimed at the window where the little red-white-and-green tricolor was flying. But they weren't aimed at Lane, either. They were shooting wild.

Which way now? Looks like I got a chance. Old cybrain says fly right for the cannons.

He saw the Mayor's balcony ahead. Go to hell, old cybrain. I'm doing all right by myself. I come to see the Mayor, and I'm gonna see him.

Lane plunged forward. He heard the shouts of frightened men.

He swooped over the balcony railing. A man was pointing a blaster pistol at him. There were five men on the balcony—emergency! Years of training and cybrain took over. Lane's hand shot out, fingers vibrating. As he dropped to the balcony floor in battle-crouch, the men slumped around him.

He had seen the man with the blaster pistol before. It was the Mayor of Newyork.

Lane stood for a moment in the midst of the sprawled men, the shrieks of the crowd floating up to him. Then he raised his glove to his lips. He made contact with Manhattan Armory.

"Colonel Klett, sir. You said if we captured the city government we might have a chance. Well, I captured the city government. What do we do with it now?"

Lane was uncomfortable in his dress uniform. First there had been a ceremony in Tammany Square inaugurating Newyork's new Military Protectorate, and honoring Trooper Lane. Now there was a formal dinner. Colonel Klett and Gerri Kin sat on either side of Lane.

Klett said, "Call me an opportunist if you like, Miss Kin, my government will be stable, and Mars can negotiate with it." He was a lean, sharp-featured man with deep grooves in his face, and gray hair.

Gerri shook her head. "Recognition for a new government takes time. I'm going back to Mars, and I think they'll send another ambassador next time. Nothing personal—I just don't like it here."

Lane said, "I'm going to Mars, too."

"Did she ask you to?" demanded Klett.

Lane shook his head. "She's got too much class for me. But I like what she told me about Mars. It's healthy, like."

Klett frowned. "If I thought there was a gram of talent involved in your capture of the Mayor, Lane, I'd never release you from duty. But I know better. You beat that analogue computer by sheer stupidity—by disregarding your cybrain."

Lane said, "It wasn't so stupid if it worked."

"That's what bothers me. It calls for a revision in our tactics. We've got a way of beating those big computers now, should anyone use them against us."

"I just didn't want her to be hurt."

"Exactly. The computer could outguess a machine, like your cybrain. But you introduced a totally unpredictable factor—human emotion. Which proves what I, as a military man, have always maintained—that the deadliest weapon in man's arsenal is still, and will always be, the individual soldier."

"What you just said there, sir," said Lane. "That's why I'm leaving Newyork."

"What do you mean?" asked Colonel Klett.

"I'm tired of being a weapon, sir. I want to be a human being."

END

Work is the elimination of the traces of work.

—Michelangelo

Transcriber's Note: This etext was produced from If July 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 the Project Gutenberg EBook of Mutineer, by Robert J. Shea

*** END OF THIS PROJECT GUTENBERG EBOOK MUTINEER ***

***** This file should be named 29196-h.htm or 29196-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/9/1/9/29196/

Produced by Greg Weeks, 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.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.