The Project Gutenberg eBook of Night Court 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: Night Court Author: Norman Arkawy Illustrator: Paul Orban Release date: May 13, 2019 [eBook #59494] Language: English Credits: Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK NIGHT COURT *** Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net NIGHT COURT BY NORMAN ARKAWY _With a new cast nightly, it was the best show in town. Gay crowds mobbed the box office for tickets; but few went back more than twice...._ [Transcriber's Note: This etext was produced from Worlds of If Science Fiction, June 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The old courthouse was in the unreconstructed part of town. No buses ran out here, and the only way that Stan and Julie could reach the court was on foot, threading their way through the debris of neglect and vandalism that littered the narrow streets. This was a part of New York that Julie had never seen. Twentieth century tenements, dimly illuminated by ancient incandescent lamps, lined the rubble-filled streets, where garbage and the decaying carcasses of poisoned rats lay stinking in the gutters. The night was warm, but Julie shivered. She hurried along at Stan's side, trying to hold her breath to shut out the unpleasant smells. They stopped at the edge of the sidewalk across the street from the court and watched a crowd of people milling about the entrance, anxiously pressing to the box office to try to get hard-to-get tickets. "Look at that mob!" Julie said. "We'll never get in!" She tried to sound disappointed, but she knew that she could not hide her feeling of relief. She didn't want to go in. She wanted to go away, back to the clean, pretty city she knew. Stan smiled and patted her hand. "You underestimate me, honey. Little Stanley knows how to take care of himself. I knew there'd be a crowd tonight, so...." He drew two tickets from his pocket. "If you don't reserve 'em, you don't deserve 'em, I always say!" He took her hand, and they started across the street toward the courthouse. It was a bleak, gray, stone-faced building whose ornate sculptured trim was weather worn and darkened with age. Once an aspiration to architectural beauty, it was pathetically ugly, a melancholy reminder of a bygone and possibly better era. A modern theater marquee had been incongruously added to the old structure and, atop the shiny new addition, huge letters of light spelled out NIGHT COURT. Smaller cast aluminum letters protruded upward from the metal rim of the arcing canopy and formed the words of a motto: "Judge not, that ye be not judged". Bold type plastered across the gleaming glass facade of the marquee loudly proclaimed: "NEW SHOW NIGHTLY". Stan and Julie pushed through the congestion outside the entrance of the court. A dizzying confusion of elbows and backs and sweating, eager faces surrounded them. Stan squeezed through the seething mass of people and, holding tightly to his hand, Julie followed. For the tenth--or hundredth--time, she was sorry that she had come. But it was too late to turn back now. Stan showed his tickets to the guard at the door, and they were ushered politely inside where a uniformed woman with a military bearing guided them to their seats. "Your ID cards, please," the young woman said. Julie was startled by the request, and alarmed. A confiscated ID card meant trouble--police trouble! "Why?" she asked, nervously, "What did we do?" Stan smiled knowingly. "It's just a formality," he assured her. "They give it back to you when you leave." He handed the usher his card. "And yours, miss?" Hesitantly, Julie took out her wallet. A cold premonition urged her to stop, to leave now, before it was too late. Then she saw Stan's amused eyes grinning at her and she reminded herself that it was already too late for her to leave. She gave the girl her ID card. The usher smiled mechanically. She handed them each a program and hurried away up the aisle. "Don't worry, honey," Stan said, "you'll get it back." He held his program up for her to admire. "Pretty snazzy, huh?" Julie nodded half-heartedly and silently leafed through her own program. It was a four page souvenir booklet. On the first page, or front cover, was the seal of justice with a perfectly balanced scale and a few words of Latin. Above the seal, NIGHT COURT OF THE CITY OF NEW YORK was embossed in black on the slick yellow paper, and below it, the legend "Judge not, that ye be not judged". Beneath the seal, in red italics, was the inscription: "_For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again._--Matthew, 7:2." The page was set up attractively but, Julie thought, the quotations seemed inappropriate. What was the purpose of the court, if not to judge? "I still can't figure it out," Stan said, as if he had read her thoughts. He reached over and tapped Julie's program with his finger. "This is the third time I've been here, and you can believe me, honey, they both judge and mete out justice in this place!" He grinned at her. "This 'judge not' business doesn't make sense!" Julie said nothing. There was nothing to say. The room was rapidly filling up now, and she watched the people slowly filing in. She was fascinated by the looks of anticipatory pleasure in their faces, the whole place tingled with barely repressed excitement. The spectators packed into the room until every seat was taken and they were standing, eight deep, in the rear of the court. Scanning their faces, Julie could feel--could almost taste--the many varied emotions that radiated from them: amusement, lust, hatred, curiosity, vengeance. It was a puzzling combination. "Now, _this_ quotation makes some sense," Stan was saying. Julie turned her attention back to him. He had opened his program booklet to the centerfold, and he pointed to an inscription printed across the top of the two inner pages. "An eye for an eye, a tooth for a tooth," he recited. "That's what this place really stands for!" He said it with relish. Julie began to feel sick. She did not like the hungry look on Stan's face or the merciless atmosphere in the courtroom. Why had she come? She stifled a shudder. She knew why she had come. She had come because Stan wanted her to and, to be honest, because she had been curious to see what the Show was like. Now that she was here, she could not call the whole thing off just because her curiosity was satisfied or because she was too squeamish to enjoy what many people considered the best entertainment in town. She had no right to ruin Stan's evening. She tried to assume a casual interest in the impending events. "What are all these lines for?" she asked weakly, indicating the horizontal lines that crossed the inner pages and were bisected by three vertical lines into four columns of uneven width. "It looks like a ledger." "It is, sort of," Stan said. "Y'see, honey, this is a scorecard. In the first column, you put the name of the accused; in the second, the offense he's charged with; in the third, his plea; and in the fourth, the disposition of the case. Up here," he explained, showing her the appropriate place, "you fill in the name of the presiding magistrate. And here," he continued, "you put in the date. It makes a nice souvenir. If you fill it out right, you can look at it six months from now and remember all the fun, just as if it were happening all over again." "Fun?" Julie's voice cracked. "Sure!" Stan said with enthusiasm. "It's a terrific show! Everyone has a good time. Well, anyhow ..." and he chuckled, "everyone but the bums!" He laughed. A man in the row in front of them turned around and looked at Julie. Perspiration glistened in an oily film on his round, pudgy moon-face. A lewd grin twisted his mouth. "First timer?" he asked. Stan grinned back at him, sharing a comradeship of common experience. "Yeah. I kept telling her she didn't know what she was missing. Finally convinced her to give it a try. I've been here twice before, myself," he added proudly. "Yeah? Me too!" the man said. "Guess that makes us real old pros: third timers!" He laughed and mopped his face with a crumpled handkerchief. "Damn! it's hot in here!" Mild embarrassment and a violent dislike for the oily-skinned man combined to redden Julie's face in a hot blush. She shifted uncomfortably in her seat. "Y'know, I never thought of it before," Stan said to the man in front, "but now that you mention it, I don't know of anybody who's been here three times." A smile of accomplishment spread onto his face. "I'll bet I'm the first one in my sector!" A growing anger blended into Julie's feeling of disgust. "I don't see that it's anything to be proud of," she said coldly. Stan's laugh was a derisive bray. "She talks just like a first timer, doesn't she?" The man in front of them nodded knowingly, again sharing with Stan the common bond of experience. "The next thing you know," Stan jeered kiddingly, "she'll be preaching to us like one of those crackpot reformers." The revulsion that Julie felt must have been clearly evident now. Stan smiled fondly and put his arm around her shoulder. "I'm only kidding, honey," he half-apologized. "What's so wrong about the reformers?" Julie demanded, angrily shrugging away his arm. "Why shouldn't men be given another chance? What...?" "Men?" The man with the moon face burst into loud laughter. "Wait'll you see these bums, kid! They're not men, they're _things_!" "He's right, honey," Stan said. "These joes don't have any homes or jobs or families or friends. They don't even have ID cards." "No ID cards?" That was impossible! But Julie was beginning to learn that many impossible things could happen in a world that most citizens knew nothing about. "Then how can they be expected to get jobs? You've got to have an ID card in order to be assigned...." "That's the general idea, lady," someone nearby said in a loud voice. Several people laughed. "You don't wanna put the court out of business, do ya?" Julie's lips trembled as she opened her mouth to voice the word that shouted emphatically within her: yes! yes! "Here they come!" someone shouted, and excited conversation buzzed throughout the room. Julie's voice was never heard. She stared silently at the people near her, then turned to the front of the room to see what they were all watching so avidly. A straggling line of bedraggled, dirty, unshaven men shuffled into a wire enclosure set along the right wall of the courtroom. Crushed men--weary, lifeless, resigned to a life without hope--they filed into the pen and slumped onto the wooden benches that were placed lengthwise in three rows in the oblong cage. Their shoulders drooped in beaten curves. Their heads were bowed. The man in front turned around and nudged Julie's knee. His triumphant smile was an obscenity. "Call those men?" He laughed and winked at Stan, then turned back to the front of the court to watch the preliminary proceedings. An incipient convulsion crawled about in Julie's stomach. Her knee felt cold and clammy where the moon-faced man had touched it. Her skin was prickly and tight. She began to itch. "Get up, honey," Stan was saying. "Here comes the judge." She stood, numbly, her eyes riveted on the men in the wire enclosure. "Julie!" She felt a hand tugging at her arm. "You can sit down now, Julie," Stan said. "Sit down!" Mechanically, she sat down. Woodenly, she stared at the tableau before her--the judge perched on his elevated throne, the stone-faced attendants at each side of the dais, the wire pen filled with misery. Through the almost tangible excitement and glee of the spectators, the misery reached her, held her. * * * * * The court was in session: the people of the City of New York against ... against an assortment of outcasts--drunks, derelicts, cripples, beggars--the "undesirables" that had been rounded up by the police in the past twenty-four hours. The people of the City of New York against a pen full of men whose only crimes, for the most part, were sickness, lack of hope and failure to possess the ID cards which everyone needed and which, somehow, they had been denied. How? Julie wondered. How could anyone not have an ID? Even if you lost your card you could get a new one simply by paying a fine. Even if you had been in prison you got a new card when you were released. You had to have a card! Everyone had to.... A court attendant called out: "Garcia, Miguel!" and a small, dark-complexioned man walked out of the detention pen and stood meekly before the judge. The clerk of the court read the charge, rattling it off in the sing-song jargon of court clerks, his words slurred together into one almost unintelligible burst of sound. There was a pause, and silence in the courtroom. "Well?" said the magistrate, "how do you plead?" His voice sounded kindly. He sat high on his bench, hunched into his black robe, and looked down with apparent benignancy on the little man who stood silently before him. The audience was hushed. It watched hopefully and waited. Julie could sense the intense excitement in Stan as he leaned forward, straining to catch every detail of the scene, anxious not to miss a thing. She heard a giggle, then Stan's hearty laugh, then a loud burst of laughter. She opened her eyes. The defendant was shrugging his shoulders in bewilderment. He turned half-way around to look at the laughing audience, a sheepish grin on his face. The magistrate smiled his appreciation of the humorous response to his question. "So, you can't make up your mind?" he said in a seemingly friendly and sympathetic way. "Well, I'll tell you what I'll do, Miguel. I'll give you thirty days in the city's hotel to think it over." Laughter and applause filled the room. The judge nodded his head in a little bow of acknowledgement. Miguel Garcia was led away, still smiling, obviously ignorant of what was happening. Miguel Garcia apparently did not understand English. Stan was happily filling in the first line of his scorecard. His face was flushed. His eyes were bright. A satisfied smile lingered on his lips. "Stan, let's leave," Julie said. Stan laughed in disbelief. "Are you kidding? The fun's just starting." "Please, Stan. I ... I don't feel well." "Oh? I'm sorry, honey." It was a formality, like saying 'I beg your pardon' to a stranger you bump into in a crowd. There was no concern in Stan's voice. The second case was being presented, and his attention was rapt upon the clerk and the object of the proceedings, an old white haired derelict. "Stan, please!" Julie insisted. "Look, honey," Stan said impatiently, "we can't leave now, even if we wanted to. They don't give back the IDs until after it's all over." A sharp burst of laughter brought his attention abruptly back to the action up front. The old man had dropped his hat and an attendant had kicked it away from him. The white haired castoff shuffled across the room to retrieve it. "I missed something!" Stan said, testily. He turned to his neighbor and was hurriedly filled in on what had happened. "Well, _I'm_ leaving!" Julie said. She got up and edged her way out to the aisle. Stan made no protest. He was concentrating on the performance up front. Julie hurried up the aisle and pushed through the pack of people standing in the back of the room. She found the usher at the door. "I'd like to leave," she told the girl. "May I please have my ID?" The usher's face was expressionless, her voice efficiently official. "ID cards will be returned at the conclusion of the session." "But I want to leave now!" Julie protested. "I don't want to see any more of this!" "No cards can be returned until the session is concluded," the usher recited. It was a final decree of official policy. There could be no arguing, no appeal from the decision. There was no alternative but to abide by it. Julie returned to her seat. She squeezed past a barricade of knees, rousing disgruntled comments from several of the spectators. Stan glanced up at her as she settled back into the seat at his side. It was only a glance, and then his eyes were fixed once again on the magistrate, the attendants, and the "undesirable" being judged. * * * * * Minutes passed. Hours. Julie suffered the time in silence. She saw and heard, but could hardly believe, the unrestrained sadism of the giggling, laughing, applauding, cheering, jeering audience. What kind of people were these, who laughed at the pain and humiliation of others? What did they find amusing in the ruin of human life? They laughed when a partially paralyzed hunchback limped before the judge and pleaded guilty to a charge of ogling girls in a public park. They roared with hilarity when the magistrate suspended sentence and commented that a more appropriate charge would have been that of defacing public property. They applauded lustily when he said to the arresting officer, "Bring him in on that one tomorrow and I'll throw the book at him!" They laughed when an alcoholic appeared, twitching and brushing imaginary creatures from his torn jacket. They howled gleefully when he whimpered and sobbed like a small boy having a nightmare. They laughed when the magistrate said his fountain pen had run out of ink and, looking into the detention pen, inquired, "Would any of you blue bloods care to make a donation?" They laughed when a court attendant read a complaint which charged that the defendant, a small skinny man, had attacked the arresting officer, and that the officer (six-three, two hundred and ten pounds) had used reasonable force in defending himself. The man's broken arm was in a sling and bandages covered twelve stitches in his scalp. The audience laughed. They gloated. They sat in judgment of their fellow men and called for punishment--the more severe, the better. At last, the detention pen was empty. The last "undesirable" was brought before the bench. He was a small, pathetic looking man dressed in sailor's dungarees. He spoke Norwegian and clumsily tried to explain his predicament with the few words of English that he knew. "Stop gibbering!" the judge shouted at him. The magistrate's facade of kindliness had long since disappeared. He turned to the arresting officer. "Do you speak that language?" He made it sound like a disgrace to be able to speak Norwegian. The officer shook his head. "Neither do I," the magistrate said, with obvious pride that he was not contaminated by such knowledge. He arbitrarily ordered the man held until he learned to make himself understood; the hearing to take place when that had been accomplished. The sailor was led away. The Show was over. "That's the end of it, folks," the judge said, genially. He tapped his gavel and rose from his seat. The courtroom rang with lusty applause. The judge hurried through the door to his chambers and the applause died out. The people started to leave. Their animated discussions of the evening's events dinned through the room in a babble of noise. * * * * * Julie's head throbbed painfully and there was a queasy feeling in her stomach. She thirsted for fresh air. Slowly, the mob of spectators formed a procession in the aisle. Slowly, the column of people moved toward the exit. Slowly, slowly, Julie was pushed along with the crowd. The line paused as each person stopped at the door and waited until his ID card was located and returned to him. Then the procession would take another step forward. And pause again. And again. Occasionally, an ID could not be found and its owner was requested to step aside and allow the line to move on while the search for his card continued. And there was another step forward. Stan held Julie's hand to prevent the pressing crowd from separating them. "How'd you like it?" he asked. He was aglow with satisfaction, tired by the long evening's excitement but with a pleasant weariness of accomplishment. "It's a terrific show, isn't it?" Julie did not answer him. She wanted to break away and run and run and run and run! She inched along with the rest of the procession. At last they reached the door. They told the usher their names and she methodically checked through the cards in her file. The procession behind them waited. Julie's ID card was quickly found and returned to her, but the usher reported some difficulty in finding Stan's card. He was asked to step aside, please, and let the line go through. He protested at the inconvenience, then sullenly joined a few other people waiting for their cards in the rear of the court. Julie stood impatiently in the doorway. She watched Stan strike up a grumbling conversation with another detained person. It was the moon-faced man who had been sitting in front of them. For a fleeting moment she thought of the old adage about "birds of a feather". She waited. People filed past her in a steady stream, from the courtroom, across the lobby, out through the street door. Watching them--smiles and pleasant conversation, civilized small talk and serious debate of the merit of the evening's fare, as if it were a dramatic work of art. She clenched her teeth and prayed that Stan would hurry up. Soon the flow of people stopped. Still no Stan. Julie waited. Some twenty minutes later, an attendant came out of the courtroom. He went past Julie, then paused at the door, turned and came over to her. "Waiting for someone, miss?" "Yes. My friend. They seem to have misplaced his ID card." The attendant smiled and shook his head. "You might as well go on home, miss. If he's still in there, he won't be coming out for some time." "I'll wait," Julie said. "You don't understand, miss. He won't be out tonight." "What are you talking about? He's just waiting till they find his ID, and it couldn't have gotten up and...." "Seventeen IDs were lost," the attendant explained. "Those people in there can't get them back. They're going to have to go to Caracas or Milan to apply for new cards." "Don't be silly!" Julie scoffed. "You don't have to go to another city to apply for a new card! All you have to do is file a claim and pay the fine." "These are special cases," the attendant said uneasily. He seemed reluctant to talk about it. Julie frowned. "What's special about them? Their ID cards were lost, weren't they?" "Look, miss, all I know is every time an ID is lost in there," he nodded toward the courtroom, "they've gotta go out of the country to apply for a new one. That's all I can tell you." "But why out of the...?" "The reassignment orders are being drawn up right now," the attendant said. He led Julie to the street exit. "So you'd better go home and forget that fellow." Confusion and a vicarious fear made Julie shiver. "Will he ... will they get new cards?" The attendant shrugged. "They might--some day." He touched her arm. His voice was low, barely audible. "Was this your first time at the Show?" Julie nodded. "How did you like it?" "I ... I ..." She shook her head. The attendant smiled at her gently. "Don't ever be a third-timer." He released her arm and hurried away down the street. Julie puzzled over his parting remark as she went out into the foul smelling night and walked away from the courthouse. Suddenly, the street before her dimmed as the lights on the huge marquee blinked out. She turned and looked back at the entrance of the court, now dark and deserted. And then she understood. She remembered the moon-faced man's observation about the scarcity of third-timers. She understood how the "undesirables" lost their ID cards and why so many could not speak English. She understood the apparent cruelty of the sentences meted out to them, too. The answer was on the marquee. As she looked back at it, only the raised letters on the canopy were visible, shining luminously in the darkness: "_judge not, that ye be not judged_". And she recalled the quotation on the program: "_For with what judgement ye judge, ye shall be judged._" *** END OF THE PROJECT GUTENBERG EBOOK NIGHT COURT *** 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.