The Capgras Shift

By Samuel Vaknin

The Project Gutenberg eBook, The Capgras Shift, by Sam Vaknin


This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

** This is a COPYRIGHTED Project Gutenberg eBook, Details Below **
**     Please follow the copyright guidelines in this file.     **




Title: The Capgras Shift


Author: Sam Vaknin



Release Date: January 2, 2008  [eBook #24109]

Language: English

Character set encoding: ISO-646-US (US-ASCII)


***START OF THE PROJECT GUTENBERG EBOOK THE CAPGRAS SHIFT***


Copyright (C) 2007 by Sam Vaknin.



The Capgras Shift
 

Sam Vaknin 


/*1. The Sinking*/

My marriage aborted, my private practice stillborn, I packed stale
possessions in two flabby suitcases and bade my sterile apartment a
tearless goodbye. On the spur of the moment, I had applied a fortnight
before to a government post and, to my consternation, had won it
handily. I was probably the only applicant.

It was an odd sort of job. The state authorities had just finished
submerging 4 towns, 6 cemeteries, and numerous farms under the still,
black waters of a new dammed reservoir of drinking water. The process
was drawn out and traumatic. Tight-knit communities unraveled, families
scattered, businesses ruined. The government undertook to provide the
former inhabitants with psychological support: an on-site therapist
(that's me), social workers, even a suicide line.

I had to relocate, hence my haphazard departure. I took the bus to the
nearest big city and hitchhiked from there. The fare just about
amortized my travel allowance for the entire week. I had to trudge in
mud the last two or three kilometers only to find myself in a
disorienting, nightmarish landscape: isled rooftops and church spires
puncturing the abnormally still surface of a giant man-made lake. I
waded ashore, amidst discarded furniture and toys and contemplated the
buried devastation.

My clinic, I discovered, was a ramshackle barrack, replete with a
derelict tiny lawn, strewn with rusting hulks of household goods. I was
shown by a surly superintendent into a tiny enclosure: my flat. Crammed
into a cubicle were a folding metal bed, military-issue blankets, and a
depleted pillow. Still, I slept like a baby and woke up refreshed.

The first thing that struck me was the silence, punctuated by a
revving-thrumming engine now and then: not a twitter, not a hum, not a
human voice. There was no hot water, so I merely washed my armpits, my
face and hands and feet and combed my hair the best I could, which
wasn't much by anyone's standards. I was plunged into the maelstrom
straightaway. My first patients, an elderly couple, their disintegrating
marriage and crumbling health mirrored by the withering of their habitat.

The days passed, consumed by endless processions of juvenile
delinquents, losers, the old, the sickly, the orphaned, the unemployed,
and the abandoned, the detritus of human settlements now made to vanish
at the bottom of a lake. It was a veritable makeshift refugee camp and I
found myself immersed in the woes and complaints of misfits who lost
their sense of community and means of livelihood and sought meaning in
their cruel individual tragedies, but in vain.

On the Tuesday of the second week of what was fast becoming a
surrealistic quagmire, I met Isabel. She was the very last in a long
list of appointments and I kept praying that she would not keep hers, as
many of them were wont to do. But she did and punctually so. I was
struck by her regal bearing, her poise, her coiffed hair, and her
dazzling but tasteful jewelry. Her equine face and aquiline nose meshed
well with just a hint of the oriental slant and cheekbones to render her
exotic.

She sat unbidden and watched me intently, benignly ignoring my
rhetorical question:

"You are Isabel Kidlington, aren't you?"

Of course she was. Three centuries ago, her family established an
eponymous town, now sunken beneath the calm surface of the lake.

Our first meeting ended frostily and unproductively but, in the fullness
of time, as she opened up to me, I found myself looking forward to our
encounters. I always scheduled her last, so that I could exceed the 45
minutes straightjacket of the classic therapy session. She was the first
person in a long time - who am I kidding? the first person ever - who
really listened to what I had to say. She rarely spoke, but, when she
did, it was with the twin authority of age and wisdom. I guess I grew to
love and respect her.

I wasn't sure why Isabel sought my meager services. She possessed enough
common sense and fortitude to put to shame any therapist I knew. She
never asked for my advice or shared her problems with me. She just made
an appearance at the appointed time and sat there, back erect, hands
resting in her lap, her best ear forward, the better to capture my
whining litany and to commiserate.

One day, though, she entered my crude office and remained standing.

"Isabel," - I enquired - "is everything alright?"

"You know that I have been provided with a residence on Elm Street, now
that my family home is underwater."

The "residence" was an imposing mansion, with an enormous driveway, an
English, sculpted garden, and a series of working fountains. Isabel
rented the place from a British-Canadian mogul of sorts, as she
disdainfully informed me a while back.

"It's been invaded by strangers." - She made a dramatic announcement.

I looked at her, not comprehending:

"You mean burglars? Squatters? Who are these strangers? Why don't you
call the Police to evict them? It could be dangerous, you know!"

She waved away my concerned pleas impatiently:

"I can't call the police to evict them because they have assumed the
bodies of my family members."

When she saw the bafflement in my eyes, she reiterated slowly, as if
aiming to get through to a slow-witted, yet cherished, interlocutor:

"These invaders - they look like my husband and my son. But they are
not. They are doubles. They are somehow wrong, fake, ersatz, if you know
what I mean."

I didn't.

"I love my real relatives but not the current occupants of their
corporeal remains. I keep my door locked at night!"

She made it sound like an unprecedented event.

"Isabel, sit down, please." - I said and she did, white-jointed hands
clenched and venous. I decided not to confront her illogic but rather to
leverage it to expose the absurdity of her assertions.

"Why would these body-snatchers go to all this trouble?"

"Don't be silly!" - She snapped - "Money, of course! They are after my
fortune! These look-alikes are planning to murder me and abscond with my
considerable fortune. They are all in my will, you see, and they know
it! But they can't wait their turn, they are anxious to lay their dirty
paws on my checkbook! They are afraid that I will change my mind!"

"You sound like you are referring to your true relatives." - I pointed out.

She recoiled:

"These criminals that took over my family, I want them gone! I want my
husband back and my son!'

"Then why don't you simply alter your will and let them know about it?
Announce the changes in a family gathering! That way they will lose all
interest in you and move on to their next victim! That way, all
incentives to murder you will be removed, you see."

She glanced at me dumbfounded:

"That's a wonderful idea, dear! You are so clever, you are so astute
when you put your mind to it! Thank you! You can't imagine what a relief
it is to strike upon the solution to such an impossible situation!"

She sprang from the creaky armchair and extended her hand to fondle my
cheek:

"Thank you, honey. You made me proud."

I felt like a million dollars.


/*2. The Syndrome*/

Milton's eyeglasses glinted unsettlingly as he took in my crumpled
clothes and unruly hair:

"So, you traveled all night, by yourself, in a hired car, to ask me
this? She must mean all the world to you!"

He hasn't changed: cherubic, lecherous, bald, and clad in fading
dungarees and Sellotaped, stapled sandals. Milton smelled of coffee
grounds and incense.

He laid a hirsute hand on my shoulder and I retreated inadvertently and
then apologized. He smiled mischievously:

"You are tired. Let's go to my office. You can refresh yourself there
and I will tell you everything you ever wanted to know about the Capgras
Syndrome and never dared to ask."

"Capgras Syndrome???"

"Coffee first!" - Milton pronounced and wheeled me forward.

*****

Ensconced in an ancient armchair, steamy libation in hand, I listened
intently, absorbing every word that came out of the mouth of arguably
the world's greatest expert on delusions.

"It's nothing new." - Said Milton, chewing on an ancient, ashen clay
pipe - "It was first described by two French psychiatrists in 1923.
Elderly people believe that their relatives have been replaced by
malicious, conspiring doubles. They lock themselves in, buy guns, change
their wills, complain to the authorities. If not checked with
antipsychotic medication, they become violent. Quite a few cases of
murder, resisting arrest, that sort of thing."

"What goes wrong with these people?"

Milton shrugged and tapped the empty implement on a much-tortured edge
of his desk:

"Lots of speculation around, but nothing definite. Some say it's a
problem with face recognition. You heard of prosopagnosia? Patients fail
to identify their nearest and dearest, even though they react
emotionally when they see them. Capgras is the mirror image, I guess: a
failure to react emotionally to familiar faces. But guess is what we
have all been doing in the last, oh, eight decades." - He concluded with
undisguised disgust.

"I need help with this client, Milton," - I interjected - "and you are
not helping me at all."

He chuckled sarcastically:

"How often do I hear it from my patients?"

"She is not paranoid, you know. Her mind is sharp and crystal-clear and
balanced."

He nodded wearily:

"That's what confounds us with this syndrome. The patients are 'normal'
by any definition of this word that you care to adopt. They are only
convinced that family members, friends, even neighbors are being
substituted for - and, of course, they are not."

He crouched next to my seat:

"Soon, she will begin to doubt you and then herself. Next time she
catches her own reflection in a mirror or a window, she will start to
question her own identity. She will insist that she has been replaced by
an entity from outer space or something. She is bad news. The literature
describes the case of a woman who flew into jealous rages at the sight
of her own reflection because she thought it was another woman trying to
seduce her husband."

Milton was evidently agitated, the first I have seen him this way. As my
teacher and mentor, he kept a stiff upper lip in the face of the most
outlandish disorders and the most all-pervasive ignorance. And in the
face of our budding, dead end love.

"What do you advise me to do?" - I mumbled almost inaudibly.

"If she refuses anti-psychotic medication, bail out. Commit her. She is
a danger both to herself and to others, not the least of whom, to you."

"I can't do that to her." - I protested - "I am the only person she
trusts in the whole world. She is so scared, it breaks my heart. And
just imagine what the family is going through: she even wants to change
her will to disinherit them."

Milton's pained expression deepened:

"Then you are faced with only one alternative: psychodrama. To save her,
you must enter her world, as convincingly as you can. Play her game, as
it were. Pretend that you believe in her lunatic delusions. Act the part."


/*3. Dinner*/

"Will you?" - Enthused Isabel - "That's mighty fine of you! I have
arranged for everyone to join me for dinner tomorrow evening. It's a
Saturday, so people don't have to go to work the next day."

"How very considerate." - I stammered and Isabel laughed throatily:

"Don't be so distrait. It won't be as awkward as you fear. Sit next to
me and watch the show as I expose these fraudsters and frustrate their
plans!".

About to exit, she turned around, her wrinkled face suddenly smooth and
becalmed:

"I will be expecting you. Be there. You must be present. For your own
sake as much as for mine."

And she left the door ajar as she swooshed down the hall and out the
building, into the flaking snow.

****

Isabel never looked more imposing as she sat at the head of the
elongated table, attired in a sleeveless white chiffon dress, no hint of
make-up on her imperious, commanding face. A beetle-shaped brooch
complemented a lavish pearl necklace that emphasized the contours of her
truly delicate neck. She was very animated, laughed a lot, and
administered light touches of familiarity and affection to her husband
and son, who flanked her.

Her spouse, a rubicund mount of a man, face varicose and hairy hands
resting on his folded napkin, was clearly still smitten with his wife,
paying close and ostentatious attention to her minutest wishes and
utterances. His enormous girth twitched and turned towards her, like a
plant craving the sun. His deep blue eyes glittered every time she
humored him or re-arranged his cutlery.

The son was more reluctant, contemplating his mother with suspicion and
his father with an ill-disguised hint of contempt. He was lanky, with a
balding pate, and sported a failed attempt at a moustache, inexpertly
daubed on his freckled face. He was also myopic and his hands fluttered
restlessly throughout the evening. I found him most disagreeable.

There was a third person at the table: a mousy, inconsequential thing
with an excruciatingly bad sartorial taste. She stared at everyone
through a pair of dead, black, enormous pools that passed for eyes. Her
hands were sinewy and contorted and she kept fidgeting, clasping and
unclasping an ancient purse ("a gift from mother"), and rearranging a
stray curl that kept obscuring her view. No one introduced us and she
made it a point to avoid me, so I let it go.

The dishes cleared, Isabel came to the painful point:

"Dears," - she declared - "I summoned you today to make an important
announcement. As you well know, my previous will and testament left
everything to you, the two exclusive loves of my life." - A hiss of
withdrawn breaths welcomed the word "previous".

"However, in the last couple of weeks, I have had reason to suspect foul
play."

They stared at her, not comprehending.

"I am convinced that you are not who you purport to be. You look like my
dearest but you are actually impostors, doubles, hired by the
perpetrators of a malicious operation, bent of absconding with my
inheritance."

The silence was palpable as her kin, jaws dropped in disbelief, listened
to the unfolding speech with growing horror.

"I don't know yet what you have done with my real relatives but, rest
assured, I intend to find out. Still, I am being told by one and sundry
that I may be wrong or, frankly, that I am off my rocker, as they say."

"Hear, hear!" - Interjected her son and rose from his seat, as though to
leave the table.

"Sit down!" - Snapped Isabel and he did, meekly, though clearly resentful.

"I have devised a test. Should you pass it, I will offer you all my most
prostrate apologies and hope for your forgiveness. If you fail, his
shall be proof of the subterfuge. I am then bent on altering my will to
exclude all of you from it and bestow my entire estate on my good
companion here." - And she pointed at a mortified me.

They all turned in their chairs and studied the intruder at length. The
son's lips moved furiously but he remained inaudible. The husband merely
shrugged and reverted to face his tormentor. Only the third guest
protested by extending a pinkish tongue in my direction, careful to
remain unobserved by her hostess.

"I will ask each one of you three questions." - Proceeded my new
benefactor, unperturbed - "You can take as much time as you need to
respond to them. Once you have given your answers, there is no going
back, no second chance. So, think carefully. Your entire pecuniary
future depends on it. These are the terms that I am setting. You are
free to leave the room now, if you wish. Of course, by doing so, you
will have forfeited your share of my riches." - She sneered
unpleasantly. No one made a move.

"I take it then that we are all agreed." - Isabel proceeded and turned
toward her husband:

"John, or whoever you are," - He recoiled as if struck with a fist -
"what was the color of the curtains in the small hotel where we have
consummated our love for the first time?"

"Must I go through this in public, in front of my son and this complete
stranger?" - He bellowed, his monstrous frame towering over her. But she
remained undaunted and unmoved and finally, he settled back in his
creaking chair and resignedly mumbled:

"The room had no curtains. You complained all morning because the
sunlight shone straight on your face and wouldn't let you fall asleep."

His visage was transformed by the memory, radiant and gentle now, as he
re-lived the moment.

"True. You have clearly done your homework." - She confirmed reluctantly
and addressed her son:

"Edward, what did you see in a book that made you cry so violently and
inconsolably when you just a toddler?"

"It was an art book. There was a color reproduction of a painting of a
group of patricians standing on an elevated porch, glancing over the
railing at a scene below them. I can't recall any other detail, but the
whole atmosphere was tenebrous and sinister. I was so frightened that I
burst into wails. For some reason, you were not there, you were gone!" -
And he pouted as he must have done back then when he had felt abandoned
and betrayed by his mother.

"Althea, what was I wearing the first time we met, when Edward
introduced you to me?"

Althea, the mouse, looked up in surprise:

"You introduced me to Edward, not the other way around!" - She protested
- "I met you at the clinic, remember? Lording it over everyone, as
usual." - She laughed bitterly and I shot her a warning glance, afraid
that she might provoke Isabel into violent action - "Anyways, you were
wearing precisely what you have on today, down to the tiniest detail.
Even the brooch is the same, if I can tell."

And so it went. All three were able to fend off Isabel's fiendish
challenges with accurate responses. Finally, evidently exhausted, she
conceded defeat:

"Though my heart informs me differently, my head prevails and I am
forced to accept that you are my true family. I hereby offer you the
prostrate apologies that I have promised to make before." - She sprang
abruptly from her seat - "And now, I am tired, I must sleep." - She
ignored her husband's clumsy attempt to kiss her on the cheek and, not
bidding farewell or good night to any of us, she exited the room in an
apparent huff.


/*4. Post-Mortem*/

"What did you make of what you have just witnessed?"

Isabel snuck into the guest bedroom and settled into an overstuffed
armchair at a penumbral corner. She was still wearing the same dress,
though her jewelry was gone. I watched her reflection in my makeup
mirror, as I was removing the war paint from my face, clad in my
two-part, lilac-strewn pajamas. I felt naked and embarrassed and violated.

"They did pretty well." - I hedged my answer, not sure where she might
be leading.

"They did rather too well." - She triumphantly proclaimed, her eyes shining.

"What do you mean by that?" - I enquired, my curiosity genuinely awakened.

"Pray, tell me, what was I wearing when we first met?"

I couldn't conjure the image, no matter how hard I tried.

"I am not sure." - I finally admitted defeat

"What was the color of the curtains in your mother's kitchen?"

"White, with machine embroidered strawberries or raspberries or
something of the sort."

"What was the first horror movie that you have seen?"

"I can't be expected to remember that!" - I exclaimed.

"Of course you can't, dear. No one can. You'd be lucky to get one
response out of three correct, you know." - She agreed - "This is the
point I am trying to make. Didn't you find my family's omniscience and
total recall a trifle overdone? Didn't you ask yourself for a minute how
come they are all blessed with such supreme, marvelous memories?"

She sounded distant and heartbroken as she said:

"I have changed my will, you know. They couldn't fool me with their
slick off-the-cuff ready-made know-it-all responses! It's all yours now.
Sleep well, my true friend and, henceforth, my only heir!."

She glided over and kissed me on the cheek, once, like a butterfly
alighting.

*****

I was woken up by a wet kiss planted on my lips by Isabel's husband.

"What do you think you are doing?" - I hissed and withdrew to the top of
the bed - "If you don't leave the room this instant, I will scream!"

He looked hurt and baffled as he slid off the mattress and stretched his
monolithic corpulence.

"What's wrong?" - He enquired - "Anything I did to offend you last
night? You shouldn't have asked all these questions if you didn't want
to hear my answers, you know!"

"Where's Isabel?" - I demanded.

He eyed me queerly and pleaded sadly:

"We are not going to go through all this again, are we, dear?"

"Go through what and I am asking you for the last time: where is Isabel,
your wife?"

He sighed and collapsed on the bed, depressing it considerably as he
held onto one of the bedposts:

"I will call Dr. Milton. Promise me you won't do anything stupid until
he has had the chance to see you."

"I am going to call the police on you. Isabel announces her intention to
disinherit you and the next morning she is mysteriously gone. Dead, for
all I know!"

"Isabel is alive and well, I give you my word." - Said her husband and,
for some reason, I believed him. He sounded sincere.

"Then why can't I see her?"

"You can, once Dr. Milton arrives. Is that too much to ask? He will be
here in less than half an hour. Edward already apprised him of the
situation last night."

"Last night?" - I felt confused - "What situation? And who's Dr. Milton?"

He got up and made to leave when I noticed that my makeup compact was gone.

"Where are my things? What have you done with my things?"

"They are in the next room. Dr. Milton will let you have them after he
has made sure that they include nothing dangerous."

"Dangerous?" - I exploded - "Am I a prisoner here? I insist to use the
phone! I am going to call the police right now!"

"Please, for your own good, don't exit the room." - Said my uninvited
visitor - "I have covered the mirrors here and have removed your make up
pouch but I can't well take care of all the reflecting surfaces: windows
and such."

"Mirrors? What are you going about? You need professional help. I am a
therapist. Won't you tell me what the problem is? What have you done to
Isabel? Are you afraid to look at yourself in the mirror? Are you
terrified of what you might see there? Have you killed her? Are you
tormented by guilt?" - It wasn't very professional behavior but I
decided that I had nothing to lose by abrogating the therapeutic
protocol. Clearly, I was being held hostage by a gang of killers or a
murderous cult.

"Isabel." - Said a familiar voice from across the threshold.

"Thank God you have arrived!" - Cried Isabel's husband - "She is having
one of her attacks."

Into the chamber came Milton, clay pipe, eternal dungarees and all. He
was accompanied by a young woman that looked startlingly familiar. She
glanced at me from across the room. She smiled. She appeared to be
friendly, so I reciprocated, hesitantly.

Milton said:

"I hope you don't mind that I have asked your therapist to join me. She
told me everything about last night. You invited her here as your guest,
you remember?"

I didn't remember anything of the sort. Still, I appraised my
"therapist" more attentively. She was a mousy, inconsequential thing
with an excruciatingly bad sartorial taste. She stared at me through a
pair of dead, black, enormous pools that passed for eyes. Her hands were
sinewy and contorted and she kept fidgeting, clasping and unclasping my
makeup purse, and rearranging a stray curl that kept obscuring her view.



Download Free Anthologies 

Poetry of Healing and Abuse 

Journal of a Narcissist 

Malignant Self Love Narcissism Revisited


After the Rain How the West Lost the East


A World in Conflict and Transition 



***END OF THE PROJECT GUTENBERG EBOOK THE CAPGRAS SHIFT***


******* This file should be named 24109.txt or 24109.zip *******


This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/2/4/1/0/24109


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://www.gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
This particular work is one of the few copyrighted individual works
included with the permission of the copyright holder.  Information on
the copyright owner for this particular work and the terms of use
imposed by the copyright holder on this work are set forth at the
beginning of this work.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  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
     [email protected]

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


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

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.

Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number.  The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date.  If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.

http://www.ibiblio.org/gutenberg/etext06

    (Or /etext 05, 04, 03, 02, 01, 00, 99,
     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)

EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way.  The year of a release date is no longer part
of the directory path.  The path is based on the etext number (which is
identical to the filename).  The path to the file is made up of single
digits corresponding to all but the last digit in the filename.  For
example an eBook of filename 10234 would be found at:

http://www.gutenberg.org/1/0/2/3/10234

or filename 24689 would be found at:
http://www.gutenberg.org/2/4/6/8/24689

An alternative method of locating eBooks:
http://www.gutenberg.org/GUTINDEX.ALL

*** END: FULL LICENSE ***