The Project Gutenberg eBook of The gallery gods This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The gallery gods Author: Murray Leinster Release date: October 1, 2023 [eBook #71770] Language: English Original publication: New York: The Frank A. Munsey Company, 1920 Credits: Roger Frank and Sue Clark *** START OF THE PROJECT GUTENBERG EBOOK THE GALLERY GODS *** [Illustration] THE GALLERY GODS By Murray Leinster The white-painted fruit steamer steamed out between the forts and turned toward the south. She only touched at Bahia del Toro to drop the mail on her downward trip, though on her return toward the north she paused to take on a portion of her cargo. The Stars and Stripes at her masthead fluttered brightly in the golden sunshine of midday, and the same sunshine made the sea seem bluer, and the palms greener and vividly alive. Half a dozen small launches that had clustered about the white ship scattered and made for different points along the waterfront of the city. _El Señor_ Beckwith was seated in a great cane chair on the veranda of the white house that sprawled over the hillside. He looked at the ship and heaved a sigh. It was not a wistful sigh, nor was there pathos concealed anywhere about it. The sigh was a sign of the satisfaction that filled him. He sat at ease, puffing a long black cigar. At his elbow a glass tinkled musically when he moved. His huge frame, now clad in spotless white duck, was eloquent of content. Only his left thumb, bandaged and in splints, gave the slightest sign of discomfort, and he smiled when he felt the incumbrance of the wrappings. It was a souvenir of the incident that caused his sensation of complete satisfaction. Conway had broken that thumb in his last struggle, two weeks before, in New York. Conway was dead. There was a clattering of tiny hoofs. One of the house-boys had been down to the wharf to get the New York papers Beckwith had arranged should be sent him. They would contain the details of Conway’s death, and Beckwith drew in a pleasurable breath at the thought of reading them. The little donkey had brought the boy hastily up with his light burden, and now the brown-skinned boy came in to Beckwith. The papers were all there, with all their “magazine sections,” their “rotogravure” illustrations, and all the other minor features on which they prided themselves. As the newspapers were handed to him, Beckwith even noticed a gaudily-colored comic section. He flicked it carelessly aside. These flimsy bundles of print had been brought four thousand miles for him to enjoy this moment. He would read of the death of Hugh Conway, multimillionaire philanthropist, patron of the arts, and other worthy things to the extent of a reportorial vocabulary, killed in the most open and daring fashion by William Beckwith, now at large. He would read of the letter left pinned to the multimillionaire’s breast in which that same William Beckwith announced his reasons for killing the millionaire, and the precise fashion in which he intended to escape punishment. Beckwith smiled cheerfully to himself as he visualized in advance the excited indignation with which the editorial comment would point out the loophole of which he had taken advantage. For weeks to come there would be indignation and anger at his calm defiance of the law and the power of the United States, while here in Bahia del Toro he would live openly and happily, frankly glorifying in the crime he had committed, respected and feared by the people. There were the newspapers. The murder of Hugh Conway would be good for a scarehead on the front page. Beckwith spread out the paper with his uninjured hand and ran his eye over the head lines. Hugh Conway--Hugh Conway. Where was it? Not on the first page. Beckwith glanced at the date with a frown. The date was that of the day after the murder, and surely it should have been a news feature. He looked on the second page. Nothing there. He ran his eye over the third page and the fourth. He flung the flimsy sheet impatiently aside and picked a second. The date was the same, and the name of the paper was that of one of the most sensational journals in New York. That, at least, would play up the murder in great shape. A new airplane record, a crisis in Europe, a prominent divorce case. Not one word of Hugh Conway. The second page. Beckwith rumpled the newspaper and threw it away. He bit angrily on his cigar. He had killed Conway, strangled him with his two hands. He took up the third paper, then the fourth. Not a word concerning Conway. Beckwith growled throatily, then an idea struck him. The police might have concealed the crime for a day or more, hoping to ensnare him before be escaped. A later paper would tell. Beckwith’s brow cleared. Of course that was it. He half smiled as he realized bow typical such an action would be. The police would want to announce the crime and the arrest of the murderer at the same time. Wells, the commissioner of police, was fond of just such tricks. He and Beckwith and Conway had gone to school together, and Beckwith knew Wells down to the ground. With a leisurely gesture he selected a newspaper of the day following, and unfolded it, only to frown again. The first page was still devoted to commonplace events, and the second likewise. Still another one was barren of news on the topic that was all-important to Beckwith. He impatiently cast them down and examined those of the next day, and the next. When the last of his newspapers had joined the crumpled pile at his feet, Beckwith sat helplessly puzzled. He was both puzzled and annoyed. His left thumb was bandaged, where Conway had dislocated it in his struggle for life. The cumbrous wrapping was still reminder of that event. Conway was dead, had been dead for three weeks, but for at least one week after his death no mention of him had appeared in any New York newspaper. Why? Conway was well known and an important figure in the financial world. His murder, surely, would be a news item of the first importance. But not one single paragraph had been devoted to him. Beckwith had strangled him in his own motor-car, then knocked the chauffeur unconscious and escaped to a waiting yacht. The mere melodrama of the feat was enough to make it “copy” for the whole United States, let alone the city of New York. But every newspaper in New York had ignored it, as they had ignored Beckwith’s scornful letter, sarcastically giving his address to the police. Dusk had faded into twilight, and twilight into diamond-studded night. Down in the city the band played faintly in the plaza, while the long lines of dark-eyed _señoritas_ promenaded primly in a duenna-guarded circle, listening decorously to the music, but casting liquid glances at the olive-skinned young men who less primly strolled in the other direction, twirling their budding mustaches for the admiration of the fairer sex. Now and again the muted chords of a guitar tinkled through the air, and now and again bursts of more uproariously amorous festivity came from the section of the town devoted to the _cantinas_ and their less frank adjuncts. Beckwith put his hat upon his head and sallied into the cobble-stoned street. He would go to the American Club. Soon, he was grimly aware, he would be barred from its precincts, unless his importance under the Garrios government overcame the normal dislike of the Anglo-Saxon for a murderer. He would go there to-night in any event. The newspapers might not have printed details of Conway’s murder, but Melton, the American consul, would surely have been cabled. Beckwith had told in his sarcastic note to Wells that he would make for Bahia del Toro, and Wells would certainly wire the consulate to find if he had actually appeared. Beckwith grinned as he thought of the touching faith of the civilian American in the efficacy of a demand by a consular representative. Wells would insist that the Nueva Bolivian government turn the criminal over to justice. He would ignore the absence of a treaty of extradition. The interior of the club was painfully hot, and most of the members sat upon the terrace above the entrance, sipping drinks from glasses that tinkled musically. Two or three cigars glowed fitfully in the obscurity, and the white-clad figure of the _mozo_ moving from chair to chair was wraithlike. Beckwith stood in the doorway a moment before emerging. The band was good, even for a military band among a musical people. At the moment it was playing a soft and dreamy waltz, while the young people in the plaza below eddied in their endless circles, the women inside, prim and decorous and the men without, discreetly admiring. Half a dozen sputtering lights detracted from the romance of the scene, but made it possible to catch an occasional glimpse of some darkly beautiful face, outlined in the sharp glow of the arc-lamp. Beckwith paid no attention to that phase of the scene, but searched among the seated, coatless figures for Melton, the consul. Melton had drawn his chair close to the railing and was looking out and down upon the plaza with a curiously wistful expression. Beckwith caught sight of him when the red glow of his cigar lighted up his face for a moment. With an assumption of indifference, Beckwith dropped into the chair by his side. Melton turned and squinted at him through the darkness until he recognized who it was. “Oh, hello, Beckwith,” he said casually. “Hot, isn’t it?” He turned and surveyed the prim crowd below him, without waiting for Beckwith’s acknowledgment. Melton was silent for a moment or so. “Beckwith,” he said presently, “do you know what this reminds me of? It reminds me of Springfield, Massachusetts, about November. It’s so different.” He half smiled to himself in the darkness. “I remember I used to be going about this time to call on some girl, with a box of candy under my arm.” “_Mozo_,” said Beckwith harshly. The boy came and took his order. “You’ve been down here ten years,” went on the consul, still in that half-hushed tone of reminiscence. “I’ve been away five years from the States, but I can still picture it. Crowds of people going into vaudeville houses, others climbing excitedly on street-cars. I’d give a lot to have a street-car clang a bell at me just about now.” “I was in New York two weeks ago,” said Beckwith suddenly, half minded to blurt out his reason for going north and what he had done there. “Went up there, but it was all strange. I wasn’t comfortable until I got back here.” “I hope I won’t feel strange,” said the consul dreamily. “I’m going back next year. Do you know, I’m thinking about fried fish. They don’t have the same kinds of fish down here, and they don’t cook them the same way. The first thing I’m going to do when I land in New York, is to eat a meal in a restaurant. And I’m going to have fried fish and griddle cakes with maple syrup. I don’t know why fried fish appeals to me so much,” he added thoughtfully, “because I never cared much for them when I could get them.” Beckwith moved uneasily. “Any news lately?” he asked, succeeding very well in keeping his tone casual. “Nothing but the papers,” answered Melton abstractedly. “Your boy was down at the dock and got a batch of them. I say, Beckwith--” He launched forth in a vivid description of the joys of living in Springfield, Massachusetts, to which Beckwith listened uninterestedly, but perforce, sipping at his grenadine rickey from time to time. When he left, Beckwith was puzzled, but convinced that there had been no message or inquiry sent to Melton from the States concerning him he went slowly up to his white house that sprawled over the hillside, wondering why. As he was entering his own door the obvious solution came to him. Wells would naturally have tried to keep the murder secret for twenty-four hours. That was one of his favorite tricks, keeping a crime secret to afford himself so much start in his efforts to unravel the mystery, so that the story of the crime and the capture of the criminal could be announced at the same time. Twenty-four hours was usually his limit. Evidently, however, he had been able to extend the time on this occasion. He must have possessed an incredible influence with the newspapers to keep them for seven days from exploiting so succulent a morsel of melodrama. Beckwith chuckled. Wells was trying to save his face. He had held off public knowledge of his failure for a week, but would be unable to keep it up much longer. When the next mail came, in seven days more, the newspapers would spread the news of Conway’s death and Wells’s humiliation, with Beckwith’s triumph as their principal theme. A man who so defiantly flouted the law, who sneered at the police to the extent of giving them his address, would surely be made much of by the press, even if they denounced him. The next mail would tell the story, and Wells’s humiliation would be the more complete for being delayed. The newspapers would flay him for trying to conceal the crime. Beckwith went to sleep with a sense of profound satisfaction in spite of his recent disappointment. The steamer usually made the port of Bahia del Toro about noon, but as early as nine o’clock in the morning of the next steamer day Beckwith was looking down the coast-line for the smudge of smoke that would portend the arrival of the vessel. He swept the horizon with his glasses from time to time, growing more and more impatient. The white hull did not appear until nearly four, however, and it was five o’clock before it turned in between the forts. Beckwith went out in one of the launches to meet it, smiling in anticipation of triumph. He waved gaily to the globetrotting passengers clustered by the after rail. They would know of Conway’s death, and one of the officers of the ship would undoubtedly point him out as the man who had defied the law. The bundle of newspapers fell into the launch with a heavy thump, and the purser who had dropped them over waved a friendly hand. The little boat backed off from the steamer and sped toward the shore, while Beckwith cut the twine about his package of papers and began to run rapidly through them, glancing only at the first-page head-lines. The first, no, the second, no, the third. A curious sensation settled upon him. Bewilderment and unreasoning suspicion, then poignant disappointment, finally a persistent hope. He could not examine them all thoroughly in the launch. The wind threatened to blow them overboard, but he put them together in a compact package and waited impatiently until he could go over them in detail at his home. He hastened to his house, carrying the parcel himself. He hurried into his smoking-room and flung them on the table, then went over them again, and again, each time more minutely, each time with growing incredulity. Not one newspaper issued on any day of the second week after the murder of Hugh Conway contained one hint of that event. Not one word, line, or paragraph referred to the murder of Hugh Conway by William Beckwith. Not one faintest indication appeared in any issue of any periodical during the second week after that murder of the defiant note written by the murderer to the commissioner of police. There was nothing to make any one suspect that any harm had come to one of the foremost figures in American finance. Beckwith rubbed his forehead in amazement and perplexity. His dislocated thumb was still _tender_ where Conway had struggled to save his life. His memory of the event was lucid and complete. He _knew_ that he had killed Conway. During the following week he brooded almost continuously over his problem. He cabled a confidential message to the Nueva Bolivian consul in New York, who knew his influence with Garrios well enough to heed his requests, asking for information about Conway. The consulate replied with a succinct list of his offices as head of this and that corporation, and added that his present whereabouts were unknown. The message cheered Beckwith immensely. He made a resolution to wait one more week. If there was still no public news of Conway’s death, he would write to the New York papers and put them in possession of the facts. He, William Beckwith, had killed Conway with his bare hands, and now resided openly in the city of Bahia del Toro. He would defy the police to punish him, and expose the duplicity of the commissioner of police, who had concealed the crime for no less than two weeks. The steamer date arrived, but Beckwith was no longer impatient. He was calmly confident that there would be no mention of the crime in the newspapers of this week. Wells might prevent the news from ever becoming public. Beckwith had been so long in the Latin countries, where censorship is ruthless and complete, that he did not realize the impracticability of such a plan. He watched the steamer arrive and drop the mail-bags over the side without emotion other than air abstract interest. When she came back on her way north again, he would have letters to form a part of her cargo; letters which would upset the smug complacency of the city of New York. A sodden, heavy rain was falling when the steamer made port, and it was barely visible from the house on the hill because of the sheets of falling water. Beckwith stood for a moment on his veranda and strained his eyes through the misty obscurity. The grass was exhaling fresh and fragrant odors in the rainfall. The palm-leaves were dark and glistening with the wet. Outside, the cobblestones of the street were running miniature floods of water to the gutter. Beckwith sat comfortably indoors and smoked one of his thin black cigars, quite tranquil, waiting for the boy to bring him the papers for which he had sent. Presently, above the humming roar of the rain on the roof and street, he heard the donkey’s hoofs. A door opened. A boy’s voice spoke in liquid Spanish, and then one of the servants brought him a rain-sodden bundle of flimsy printed sheets. Beckwith quite calmly cut the twine. The papers on the inside were dry, and he spread one out, looking at it with interest which sought confirmation of a conclusion already made. Wells had concealed the crime. “_Hugh Conway--_” The name leaped at him from the head-lines. A shock went over Beckwith so that for a moment he could read no more. His hands were shaking. Triumph welled up in his heart. He laughed for an instant, and steadied his hands against the table before him. He fixed his eyes on the printed page. A moment later his always frightened half-caste wife was shrinking in terror from the room she had been about to enter. Her husband was in there, staring at a sheet of paper and pouring out imprecations from the dregs of two languages. He seemed so furious that his anger verged on panic. “_Hugh Conway Announces Gift to City’s Poor!_” The head-lines were those of the “feature” section of one of the larger newspapers which invariably made much of the benevolences of the rich. Below the headline a pen-and-ink portrait of Hugh Conway--Hugh Conway, whom Beckwith had killed a month before--smiled from the page. Beckwith, with the sensation of unreality one experiences in a nightmare, read the fulsome eulogy of the dead man. But the dead man was not here described as dead. The conventional phrases of the newspaper reporter, “Mr. Conway refused to be interviewed.” “At his home it was said that Mr. Conway did not wish to add anything, to the statement of his attorneys, who have completed the arrangements for the gift.” All the evasions and artifices of men who have failed to see an important man were used. Through the mist of incredulous amazement, Beckwith could gather only one impression. Conway had not been seen. No one had looked upon his living form to write of him recently. Beckwith knew why, of course. Conway was dead. But why, why had this gift been announced as from a living man? With trembling fingers Beckwith spread out the remainder of the papers. Here and there he saw references to the gift. A monster sum was to be expended for fresh-air outings for the children of the slums. Every reference spoke of the frequent benefactions of the man Beckwith knew was dead, but not one word or line referred to his murder. True, there was no direct mention of a late interview with him, but on the other hand no faintest hint had escaped the editorial writers of the fact that he had been killed, and that his murderer had gone openly to a country from which he could not be extradited, where he was living in ease and comfort, defying the law to punish him. When the last of the papers had been gone through, Beckwith was in a frenzy. He had killed Conway, and the papers would not mention it! He felt almost as if he were being cheated, as, in a way, he was. A large part of his triumph was the public knowledge of his superiority to both Conway and Wells. To be deprived of that was infuriating, daunting. Beckwith suddenly got up and went from the house, to walk heedlessly in the pouring rain and try to think what could have happened to set his plans awry. Such few brown-skinned folk as saw him shrugged their shoulders and murmured softly to one another. _Los Yanquis_ were mad, though el Señor Beckwith had seemed less mad than they until now. But behold him walking in the downpour! When he finally stumbled into his own house again, Beckwith was exhausted both mentally and physically. He made his way, dripping, into the room where he had left his newspapers. His wife rose and fled from the room when he appeared, leaving behind her the picture section at which she had been looking. She read no English, and but little Spanish, but the brown-tinted pictures gave her childish pleasure. Beckwith paid no attention to her hasty flight, but slumped down in his chair and stared gloomily at the floor. Then, suddenly, a picture on the illustrated sheet grew clear and distinct It was a picture of Hugh Conway, at the top of his stroke, about to strike a golfball. The legend beneath the picture read: “Hugh Conway, well-known multimillionaire, taking a vacation from business cares at Newport. He is shown driving off from the first tee in front of the clubhouse.” Beckwith, staring at the picture of the man whose life he had choked out a month before, caught his breath and began to swear at the printed sheet, hysterically, as he might have sworn at a ghost. When the fruit steamer stopped on its northern trip, Beckwith took possession of a cabin. He did not quite understand why he was going to New York, but he was feverishly impatient for the ship to leave Bahia del Toro. He had a letter of credit in his pocket, and was determined to find out once and for all what had happened. If Conway had escaped him before, he would not escape again. In his stateroom Beckwith carried the last batch of papers he had received, and spent much time reading and rereading the items concerning Conway. He weighed again and again each phrase in the accounts of Conway’s munificent gift to charity, hoping to find therein some hint of Conway’s death. He knew Conway was dead. He had choked Conway’s life from him with his two hands. But why, why, why did not the papers announce the murder? The ship steamed up the coast with incredible slowness. It put into Havana with nerve-racking deliberation. There were fresh papers to be secured there, but none of than told of the murder. Beckwith read them minutely, and as the steamer neared New York he came out on deck and paced back and forth, smoking incessantly, torturing his brain for an explanation of the silence of the newspapers. His nerves were in shreds when they finally reached New York. He watched the forts swing by to his left, and the tall buildings of lower Manhattan rise from the water. The fixed expressionlessness of the Statue of Liberty irritated him. He was all impatience to be ashore and free to make his final investigations. What had happened that had prevented the press from learning of Conway’s death? And why had they printed no word of murderer? The leisurely manner of the customs inspectors drove him nearly frantic. When he was at last free to go ashore he was trembling from sheer nervous tension. He went down the gangplank, an olive-skinned steward carrying his bags. He pushed roughly through the crowd of people come to meet the voyagers, and closed his ears to the soft Spanish greetings. He failed altogether to see a motion-picture photographer cranking busily. He pressed free of the assembly of people, and turned impatiently to the steward behind him. “Trouble you to come with me, sir,” said a quiet voice at his elbow. Two unimpressive figures in civilian clothes stood, one on either side. The hand of each was in his coat-pocket, where a suggestive bulge warned against resistance. “What the devil!” began Beckwith furiously, and stopped. Wells was standing there, smiling sarcastically at him--Wells the commissioner of police. “You’re under arrest for Hugh Conway’s murder, Beckwith,” he said caustically. A dozen or more delighted men watched the scene, cameras and note-books busy. Beckwith saw the unmistakable signs of the reportorial trade. There was even a woman or two among them, “sob-sisters” beyond a doubt. “We might as well make it a nice, dramatic moment, Beckwith,” Wells said dryly. “I got your letter, pinned to Conway’s breast. Kind of you to tell me where you were going, and that you couldn’t be extradited. I wouldn’t have got you but for that. I knew you’d took in the papers for news of your feat; as a matter of fact, you mentioned it in your letter, so I took the boys here into my confidence”--he nodded at the group of newspapermen--“and they agreed to help out. Their owners O. K.’d the scheme and the murder was kept absolutely secret from the public and the press. “We gave you two weeks to get worried, and then announced Conway’s bequest to charities--it was really in his will--and printed a picture or so of him. You rose to the bait, all right. We couldn’t touch you in Nueva Bolivia, but as soon as you boarded the steamer, we had you. We let you come on to New York alone, though, to save trouble. We’re much obliged to you, I’m sure.” Beckwith suddenly understood. He had not won his revenge and freedom after all. He had not proven himself cleverer than Wells. He had lost, utterly and irreparably. He had been lured into the power of the law by nothing more than silence. But the thing that cut deepest into his hearts that made the cup of his humiliation run over, was a final remark of Wells. The reporters were listening intently. “I guess that’s all, boys,” said Wells indulgently. “No more to be said. You’ll have a good story for the evening editions. Beckwith couldn’t resist playing to the gallery gods.” [Transcriber’s Note: This story appeared in the August 21, 1920 issue of the Argosy—All Story Weekly magazine.] *** END OF THE PROJECT GUTENBERG EBOOK THE GALLERY GODS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate. 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: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, 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.