Divvy up

By Stephen Marlowe

The Project Gutenberg eBook of Divvy up
    
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: Divvy up


Author: Stephen Marlowe

Illustrator: Mel Varga

Release date: December 29, 2023 [eBook #72537]

Language: English

Original publication: New York, NY: Ziff-Davis Publishing Company, 1960

Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net


*** START OF THE PROJECT GUTENBERG EBOOK DIVVY UP ***




                               DIVVY UP

                            By MILT LESSER

                         ILLUSTRATED by VARGA

              _Here's a fine, hard story of the inverted
              ethical system of the post-war world, where
          inhumanity is the norm and cruelty pays dividends._

           [Transcriber's Note: This etext was produced from
                    Amazing Stories February 1960.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]


Hardesty fondled the sight picture with his right eye, squinting shut
his left eye, caressing the trigger of his rifle with the index finger
of his right hand and waiting for the squad leader to issue his
commands.

"Ready," called the squad leader.

At times like this, Hardesty observed, time seemed suspended. He
wondered if it worked that way for the condemned man, too. The sun was
just coming up over the rim of the bomb crater, splashing the rubble
there with rose and gold. A hungry dog howled somewhere north of the
crater.

"Aim...."

A dozen rifles were pointed at various parts of the condemned man's
anatomy. Hardesty always selected the stomach, although there
invariably was a softie in each firing squad to spoil the fun. The
hungry dog began to yelp. Someone had probably left ground glass for it.

Before the squad leader could shout the command to fire, a rifle shot
cracked flatly, with a complete lack of resonance, across the bomb
crater. The condemned man jerked upward, then strained forward in death
against the fetters which bound him to the firing post.

"Damn it!" swore the squad leader. "Who the hell did that?"

Jumping the gun had started some years ago strictly as a sport. Now it
was business, though, and profitable if you could get away with it and
trust your confederate.

"Who did that?" screamed the squad leader.

No one spoke. The dozen members of the firing squad stood rigidly at
the aim position, their weapons pointing like accusing fingers at the
dead man slumping forward against the firing post. Two crows flapped by
like black paper overhead, cawing raucously.

"All right," snapped the squad leader. "Uh-ten-_shun_!"

       *       *       *       *       *

Rifle stocks were slapped in brisk unison as the weapons were brought
down from the aim position through port to order arms. A trickle of
sweat rolled across the bridge of Hardesty's nose. A bus rumbled by two
blocks east, on what was left of Lexington Avenue. Hardesty wondered if
the driver's union sanctioned passenger trapping. He had once traveled
ten extra blocks on a bus which had slowed down without stopping at
the designated spots. He had watched braver passengers than himself
leap from the vehicle, risking broken bones. Well, they probably had
time-clocks to punch; Hardesty was in business for himself.

"In-spec-shun--_harms_!" the squad leader screamed. Twelve rifles
snapped up to port, twelve bolts were slammed back. The squad leader
walked down the line, examining rifle chambers. Three rifles to
Hardesty's left, he stopped. "Here she is," he said.

From the corner of his eye, Hardesty saw the girl, calm as murder, hurl
her heavy rifle at the squad leader. The stock slammed across his face
and knocked him down before he could parry it with his arms. The girl
turned and fled up over the rim of the bomb crater.

"Catch her!" bellowed the squad leader, who stood up, wiped the blood
from his lips and sprinted toward the crater rim. Ten members of the
squad followed him on the double. The penalty for jumping the gun was
severe; the reward for catching the culprit, considerable.

Hardesty did not follow the squad leader.

He waited until the last of the squad had scrambled up the steep slope
of the crater wall, waited until the drumming sound of feet on the
buckled pavement faded, then approached the dead man still suspended
from the firing post. The man's face looked peaceful, as if he were
only sleeping. He wore a mackinaw, a pair of patched trousers and heavy
rubble-boots. Hardesty could not see where the bullet had gone in.

Approaching the corpse, Hardesty wondered if the girl who had fired
prematurely would make good her escape. Lord knew there were places to
hide in the bombed-out city. Hardesty began to hope they would capture
her, though. It would simplify things. He did not know her name,
but fifteen minutes before the execution he had tossed a coin with
her. Hardesty had won. She would kill the condemned man prematurely,
Hardesty would remain behind to go through his pockets for booty. Later
on, they would meet at the stump of the Lever Brothers Building and
divvy up. Provided she wasn't caught. Provided Hardesty remembered.

Sucker, he thought.

He reached the dead man and started through the big flap pockets of
his mackinaw. A cold wind swirled into the crater, lifting a cloud of
choking dust. The first red glow of the sun had faded, leaving a pale
and watery orb to fight the gathering clouds in the eastern sky. It
looked like snow was on the way. Hardesty found a tattered wallet in
the left rear pocket of the man's trousers.

"Hold it," a woman's voice called softly.

Startled, Hardesty looked around. He saw no one. He might hurl himself
behind the corpse and the firing post, his rifle ready--but the woman
could have been crouched behind the embankment there.

"What do you want?" Hardesty demanded in an arrogant voice. You were a
goner if you showed fear. That's what they wanted, fear.

"I'm armed. I have you covered. I can see you but you can't see me.
Drop your rifle."

Bluff? Hardesty wondered.

"I'll count three."

And fire on two, you shrew, Hardesty thought. He wondered again
about the other girl, the one who was fleeing across the city now. A
confederate of hers? It was possible. Double-dealing invited triple
dealing. Hardesty thumbed the safety catch forward on his rifle and
dropped the weapon at his feet. He still held the dead man's wallet in
his left hand.

The woman appeared over the rear embankment of the crater. She wore
a cap with earlaps, a tattered leather lumber-jacket, a heavy black
skirt, rubble-boots and no gloves. She carried a sawed-off shotgun in
the cradle of her bent left arm. She was pretty, but did not look mean
enough to be really beautiful. Her eyes were piercing.

"What have you got in your hand?" she said.

"His wallet."

"Give it to me." The young woman came forward, kicked Hardesty's rifle
out of reach with her left foot and held out her right hand.

Just then an air-raid siren began to wail. Hardesty looked up at the
pale cold sky. He saw no jets. He heard none. The spotters didn't give
you much warning these days. _They_ knew of the raid in advance, of
course. _They_ had received word from the spotters up and down the
coast. While they would be executed if they failed to report the raid
entirely, there was no stipulation on the time limit and no way of
proving it if there had been. As a consequence, the spotters were rich
men. You hardly had time to lock up or hide your valuables with only
seconds to reach shelter.

"Think it's for real?" the woman asked Hardesty.

He shrugged. He still heard no jets. False alarms kept you on your toes
and made you wait until the last possible moment when the real thing
came. False alarms? The spotters called them air-raid drills.

"I doubt it," Hardesty said truthfully. The bomb crater would make a
fairly good shelter, anyway. The worst of the shock waves would pass
over it. Hardesty hoped shelter-seeking pedestrians wouldn't find the
bomb crater. He might be able to deal with the woman alone, but he'd
lose whatever booty was left in the dead man's pockets if a few dozen
scavengers came down into the hole.

"Give me the wallet."

Hardesty handed it over. "Who are you?" he said. "A friend of that
blonde girl who--"

"Did you take anything else? I'm the widow."

A head was silhouetted briefly against the pale sky above the rim of
the crater. The widow fired a warning shot from one barrel of her
shotgun, then quickly reloaded it. The head vanished.

"You have no right to your husband's belongings," Hardesty said. "You
ought to know that."

"You have a right?"

"Sure. Why don't I?"

"Because I saw what happened. You were in cahoots with that blonde
girl, weren't you?" The widow went through her dead husband's pockets
as she talked, stuffing what she found into the pockets of her
mackinaw. Hardesty stared hungrily at the silver gleam of coins, the
dull green of paper money.

"Lady," Hardesty said derisively, "you're a sucker. Your husband was
holding out on you."

"What else did you find?"

"I didn't say I found anything."

"But you implied it."

"Go scratch," said Hardesty in a taunting voice. He wanted the woman
to search him. He thought he could take her if she got busy with his
pockets.

"I could kill you and search you afterwards."

"You could, if I didn't hide it where you'd never find it."

"Hide what?" the woman licked her lips eagerly. She looked real pretty
now. Hardesty had always preferred the mean, hard look to the unctuous
one which stamped so many faces these days. The woman took a step
toward Hardesty, who tensed himself. It was the little things like
this which made life worth living. The cat and mouse game. Personal
politics, it was called. It used to be called ethics. The woman put her
hand in the pocket of Hardesty's coat, anxiously searching.

At that moment, the first wave of jets came over.

The sky shook itself, disgorging bombs. A bright flash blossomed beyond
the western rim of the crater, and another. Seconds later, Hardesty
heard the explosions. The woman had forgotten Hardesty and crouched in
terror at the feet of her dead husband, who still stood there leaning
forward from the firing post. Had the woman denounced him for some
personal reason? wondered Hardesty. It happened all the time. Personal
politics.

       *       *       *       *       *

The second wave of jets came over, their roar all but drowning out the
stacatto pop-pop-pop of the AA guns. The country had used up its entire
supply of ground-to-bomber missiles. The enemy had depleted its store
of fusion and fission bombs. Everyone settled for ack-ack and TNT.

The bombs rained down, exploding like firecrackers on a scale model
of the ruined city. It always looked that way to Hardesty. Unreal.
He supposed it was like that, unreal, to everyone until the one bomb
which was too close and suddenly too real compressed the air before its
warhead and shrieked earthward, growing and growing and not cutting
off the shriek before the sound of the explosion like kids do when
they play war and make vocal bomb sounds but terminating the shriek
instantly with the explosion and killing you almost before you heard
the sound with concussion or flying masonry or fire.

Like that bomb, right now, right there, which picked up a two-story
building, uprooting it at the foundation and lifting it slowly into
the air in defiance of gravity, then turning it over gently, teaching
it tricks before it perished, flipping it carelessly, indifferently,
showering a slow downpour of furniture to the ground through the now
floorless bottom story and then turning the whole building once more,
like a child's block caught in a gale, and suddenly sundering it,
breaking the building into large pieces which floated lazily downward,
exploding with a paradoxical lack of violence into smaller pieces, and
the smaller ones into still smaller, until the whole thing came down,
dust and shards now, like a multi-colored snowstorm, beyond the rim of
the bomb crater.

Afterwards came the concussion, mitigated by the depth of the crater
but still strong, flipping Hardesty across the crater floor. He let
his muscles go slack, instinctively knowing there would be less
likelihood of a broken bone that way. He tasted blood in his mouth and
felt his head burrow into rubble and ashes. He stood up groggily as
the all-clear sounded. You had to be cautious. Sometimes the spotters
tricked you. Then you went out into the open and the bombs came down
again almost as if the spotters and the enemy bombardiers were in
secret entente with one another and would later meet in some undreamed
of neutral place and share the booty collected from corpses and parts
of corpses. It was a dog eat dog world.

The concussion had ripped loose the firing post, which had fallen with
the dead man still dangling, like a drunk leaning backwards against a
lamp-post, across the woman. She lay there under its weight, her legs
drumming, her arms twitching.

"Help me," she called to Hardesty in a feeble voice. "Please help
me." She was very ugly that way, with a look of supplication on her
dirt-smeared face. Hardesty walked over to her and placed his foot on
her shoulder so she wouldn't twitch so, then went through her pockets
quickly. He found two five million dollar bills and a handful of small
denomination coins, one and two hundred thousand dollars each, mostly.
Shrugging his disappointment, Hardesty realized it would be only enough
to keep him going a week, and that long only if he spent it frugally.
Those were the breaks.

"What else did you find?" the woman croaked through bloody lips.

She would probably live, Hardesty figured. She was only pinned there;
she didn't seem badly hurt. Naturally, he changed his residence in
the bombed-out city every day, but if the blonde girl were caught
and described him to save her own neck and if this woman confirmed
the description to receive her share of the ten million dollars in
denouncer's bounty, Hardesty might possibly be found. The penalty for
jumping the gun or aiding gun-jumping was death. Other citizens didn't
have their just opportunity to scavenge.

"What else?" the woman asked again.

Hardesty went over and found the sawed-off shotgun. "Nothing," he said,
and split the woman's skull open with the stock of the shotgun.

"Hey, man! Hey, over this way!"

A digging crew was working with picks and shovels on a ruined building
on 44th Street. It had been an office building of some dozen storys,
but the whole façade had collapsed. The offices thus revealed looked
like tiny cubicles with cardboard ceilings, floors and walls. The whole
ruined structure looked like a giant compartmented eggbox lying on its
side, the small square compartments cluttered with impossibly small
office furniture carved to perfect scale.

"Hey, man! We got an extra shovel."

Community effort. You had to dig out the ruins. In the early days
of the war you looked for living people, but now personal politics
had changed that. The diggers had clubs and knives ready in case any
survivors were found to contest their booty. They were hacking away at
the heaps of broken concrete with consummate effort, stopping every now
and then for hot drinks which the Red Cross brought around. They had
some union, those Red Cross workers. They were guaranteed ten percent
of the booty in any building they serviced during digging. Often only
the digging foreman got coffee, but it didn't matter.

The scene reminded Hardesty of a clever children's toy he had seen
once. It was a hollow globe of plastic, with water inside. When you
turned it upside down, tiny jet bombers dropped tinier bombs on a
skyscraper which resembled the Lever Brothers Building. The building
flew apart, spitting miniature corpses and furniture out of windows.
Minute diggers started to dig at the base of the structure and a Red
Cross vehicle spilled out tiny, spider-like Red Cross workers with
armbands. When you turned the globe right-side-up again, everything
assumed its place like before the air-raid. It was very ingenious.

Hardesty thought it would be a good idea to get out of his
neighborhood. There was no telling what had happened to the blonde.
If he were caught in her position, he certainly would have squealed.
Anyway, Hardesty had heard that the pickings were good down by the old
Navy Yard in Brooklyn, provided you could steal a boat and make your
way across the East River under the ruined bridges. Some people claimed
the waters of the river were still radioactive, but Hardesty suspected
the radiation had long since flowed out to sea. It was probably a rumor
promulgated and maintained by the roving bands of Brooklyn scavengers.
Hardesty had always preferred being a small businessman. He just
couldn't see scavenging for a salary, despite the comparative security
it offered.

"Well, what do you say, man?"

"No, really, I have to be getting along."

"All right, then. It's an order." Someone thrust a shovel at Hardesty.
He glanced at the man's sleeve and saw the starred armband of a block
captain. Damn these civil servants! You hated their guts but had to
obey them. Oh, they were psychopathic enough. Hardesty admitted that to
himself. You couldn't get any kind of a decent job with the city unless
the Civil Service Board passed on your psychopathy. But they were too
smug in an orderly, regimented way. They could quote ordinances to you
until you wanted to wring their necks but they were right and if you
did, you were as good as dead.

Hardesty took the shovel in his numb cold hands and began to dig
mechanically where the pick-ax crew had already done its work. After an
hour, he had uncovered nothing worthwhile. A teen-aged Red Cross girl
brought him a cup of evil-smelling synthetic coffee, but he drank it to
warm his stiff muscles.

All at once, he heard a tapping sound coming from a big bronze pipe
which had probably carried water or refuse from one of the offices
upstairs.

"Someone's alive in there," a youngster next to Hardesty said. He ran
over with a pick-ax and began to hack furiously at the rubble.

The block captain rushed to the spot and said, "Are you crazy or
something? There's no air in there. Give them a couple of hours and
they'll be dead. Are you forgetting your ordinances, boy?"

"But we can save them!" the youngster said in some confusion.

"We got too many mouths to feed as it is. Anyhow, you want them
contesting the booty? If they survive, they're liable to claim it all."

"I--I'm sorry." The youngster stopped hacking away with his pick-ax.
He seemed genuinely contrite, but you never knew about that type. He
might come back tonight and dig in private. By then, fortunately, it
would be too late. But the city hospitals were full of just such people
who couldn't adjust to the rigors of war. Hardesty had heard about a
proposed bill which would have them all killed painlessly. That was no
way to die, without pain, but it served them right. Of course, thought
Hardesty bitterly, the city would claim all their booty--which was
another matter entirely.

       *       *       *       *       *

Five minutes later, Hardesty found a dismembered arm. It was already
frozen with the cold and seemed more like wax than flesh. The arm was
too muscular to have belonged to a woman. The man had worn a ring and
a gold-plated wristwatch which, between them, might bring eighty or
ninety million dollars on the black market. Hardesty got the watch
loose and was working the ring off the frozen fingers when the block
captain spotted him.

"I saw that," he said. He had a big beefy face with eyes so close
together they seemed to be forever staring at the tip of his nose. "You
think you're in business for yourself?"

"I'm sorry," Hardesty said lamely. "Habit. I'm a scavenger by
occupation. Here. Here's the ring."

The beefy-faced man scrutinized the ring and pocketed it. "The
wristwatch," he said,

"There must be some mistake."

"I saw you put it in your pocket."

"No, you must have been imagining things." What would it bring on the
black market? Fifty million dollars in a quick sale? Decent living for
a month. Hardesty was damned if the block captain would get it.

"Fork it over, wise guy."

The other diggers had stopped their work to watch Hardesty's
growing--and now perilous--discomfort. "Let's just get on with the
work," Hardesty suggested. He had placed the sawed-off shotgun down
near the curb when he started digging. He saw it there now, with one of
the Red Cross teen-agers staring at it covetously. He wondered if he
could reach it in time and blast the beefy block captain's face in. He
decided the shovel would be quicker and every bit as effective.

"For the last time ..." began the block captain.

Swinging the shovel like a baseball bat, Hardesty bounced it off his
jaw. He didn't wait to see the results. He bolted for the curb,
scooped up his sawed-off shotgun, and ran.

       *       *       *       *       *

It was snowing now, big dry flakes which fell from a windless sky, slow
patient flakes which would fall for many hours if the leaden sky was
any indication, choking the broken arteries of the perishing city.

Let it, thought Hardesty. I don't have to go to Brooklyn, after all. I
know where I can dispose of this wristwatch.

He was jogging along in no great hurry. He had darted down Vanderbilt
Avenue by the ruins of Grand Central Station, then cut back and forth
through the streets in the low forties. They had chased him for a
while but had given him up by now, he supposed. Hell, it was only one
wristwatch. He slowed to a walk along Park Avenue and watched the city
die.

The city had been moribund ever since Hardesty could remember. It
seemed the natural state of things, just as the public politicians
had finally given in to the inevitable and now decried that war was
the natural state of human society. With war, cities died. With dead
cities, war became a more personal thing. That was where personal
politics came in. War became an individual thing as well as a social
enterprise. That was the way you lived.

An old woman came trudging along in the snow, her boot-shod feet making
footprints clear down through the thin white covering to the broken
gray sidewalk beneath it. She was selling poor-grade booty, trinkets
and a few items of faded old clothing. "Anything I've got," she hawked,
holding a yellow straw basket up for Hardesty's inspection, "anything
in the basket for only a hundred thousand dollars."

When Hardesty shook his head, she tagged along, gripping his sleeve
in clawlike fingers and tugging at it. "Go away, grandma," he said.
The old lady went on ranting about her wares in a high, incongruously
childish voice. Maybe a few of the diggers were still looking for him,
Hardesty thought. The crone's piercing voice would attract people for
blocks.

The hag cleared her throat and spat yellow phlegm in the clean white
snow. "See this dress? See, it's second hand, but you could hardly
tell. For you, a special price because you have a cruel face. For you--"

"Damn it!" said Hardesty, and fished in his pocket for a few coins.
There was no one else on the street, no one else on the lonely
landscape of battered buildings and stumps of buildings. A few feet to
Hardesty's left, a fire hydrant had ruptured; a torrent of water gushed
from it, freezing at the edges of the large puddle which had formed,
as if the ice had started there and would approach the hydrant and
strangle it. Hardesty was surprised that the city still pumped so much
pressure through its water mains.

"Here," Hardesty said, handing the old woman a few coins and taking her
basket. It was unexpectedly heavy. The old woman thanked him profusely
in her childish voice. Hardesty had no use for the contents of the
basket, but wouldn't return it to the hag. Later he could dispose of
it. Returning it to her would be charity, and you just did not indulge
in charity.

The old woman walked off through the snow, cackling happily.

"There he is!" someone cried.

Hardesty heard the footfalls pounding behind him. The diggers. He
began to run, hurling the basket away from him. He turned around to
look and saw four or five shapes sprinting after him. Hardesty raised
the shotgun without bothering to aim and fired both barrels. The hag
clutched her throat and pitched forward in the snow. One of the men
fell with her. Hardesty tossed the now useless shotgun aside and heard
something clatter against the wall next to him. Sparks flew. It was a
knife. The man's aim had been good, almost too good.

       *       *       *       *       *

Hardesty circled the block twice, then hid in a doorway. It was a
doorway to absolutely nowhere. On one side was the street, on the other
was a rubble-filled bomb crater. This had once been a building, but
only the doorway stood. Even the door had been blown to bits.

A sign over the door said WAL--RIA. Hardesty thought a hotel had stood
here, long ago. He crouched in the doorway and waited, catching his
breath. It was so cold, his teeth began to chatter uncontrollably. His
lungs, though, were on fire, and his nostrils. He couldn't stay there
too long. He would freeze to death. Perhaps they had taken a wrong turn
over on Madison Avenue.

Hardesty walked boldly out into the street. No one stopped him.

Ten minutes later, after hiding in a pile of rubble when he saw someone
coming down the street, Hardesty found himself passing the stump of
the Lever Brothers Building. The girl, he thought suddenly. He had
forgotten about the blonde. He shouldn't be passing here. She might be
waiting for him.

"Psst! Hey, it's me. I didn't know to expect you or what."

It was the blonde's voice. Hardesty had in mind to run again, but there
would be too many people after him, too many people who, out of spite
or patriotism, would identify him and denounce him. He would share the
executed man's booty with the blonde girl. But not the wristwatch. She
had nothing to do with the wristwatch. Maybe, he thought, she even knew
of a good warm place to sleep.

"I had a little delay," Hardesty said. He didn't see the blonde
anywhere. She was inside the building.

"Well, come on in."

People came from all over Manhattan to see the Lever Brothers stump.
Miraculously, some of the green-tinted glass was still whole. No one
could explain this except to say it was a freak of concussion, and it
_had_ happened, hadn't it? The few panes which remained were almost the
only unbroken panes of glass in New York City.

It was green in there, and dim. Looking out through the glass, the snow
resembled tons of chopped spinach coming down. The blonde's hair was
green. Her skin was green, and her eyes. She had a hard cold look on
her face now.

"Well?" she said.

Hardesty began to empty his pockets for the divvy up.

Someone said, "Stop right there! Hold it."

The man was big and had probably used many times with success the gun
he carried in his fist. It was the man who had spoken. He covered
Hardesty with the gun while the blonde hastily went through the booty
they had found.

"You're being held under city ordinance 217," the big man told
Hardesty. Ordinance 217 was concerned with gun-jumping or aiding a
gun-jumper. The penalty was death.

       *       *       *       *       *

Not long afterwards, Hardesty was bound to a firing post near the
embankment of a crater close to the Lever Brothers stump, but far
enough away so none of the glass would be shattered. The firing squad
lined up. The blonde girl was third from the right. Hardesty hoped
someone would aim for his stomach and the others would miss. If he had
to die, he wanted to die painfully.

"Ready!" barked the squad leader. Hardesty wasn't sure, but thought he
was the same man who had led that other squad.

"Aim...."

Time was suspended again. Even more for the condemned.

And then, before the squad leader could shout "fire!" Hardesty heard
a gunshot. He didn't feel the bullet go in, but as he slumped forward
away from the firing post he felt a warm wetness, and no other
sensation, in his chest. With a final effort of will he looked up and
saw the blonde girl's face. There was a faint smile tugging at the
corners of her lips. All at once Hardesty knew. She had probably taken
someone in this squad aside, as she had taken Hardesty aside. She had
made a deal with him. Meet at the Lever Brothers stump, or someplace
else? Divvy up. It was the surest way to catch gun-jumpers. The blonde
girl was working for the government and probably collected a healthy
slice of the booty.

The last thing Hardesty ever heard was the squad leader's angry voice
as the man roared: "Who the hell jumped the gun?"


                                THE END




        
            *** END OF THE PROJECT GUTENBERG EBOOK DIVVY UP ***
        

    

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.