The Project Gutenberg EBook of A Hitch in Space, by Fritz Leiber 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'll have to check the laws of the country where you are located before using this ebook. Title: A Hitch in Space Author: Fritz Leiber Illustrator: Sol Dember Gray Morrow Release Date: September 13, 2016 [EBook #53042] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK A HITCH IN SPACE *** Produced by Greg Weeks and the Online Distributed Proofreading Team at http://www.pgdp.net [Illustration: book cover] A HITCH IN SPACE BY FRITZ LEIBER ILLUSTRATED BY GRAY My Space-partner was a good reliable sidekick—but _his_ partner was something else! Once when I was doing a hitch with the Shaulan Space Guard out Scorpio way, my partner Jeff Bogart developed just about the most harmless psychosis you could imagine: he got himself an imaginary companion. And the imaginary companion turned out to be me. Well, I’m a pretty nice guy and so having two of me in the ship didn’t seem a particularly bad idea. At first. In fact there’d be advantages of it, I thought. For instance, Jeff liked to talk a weary lot ... and the imaginary Joe Hansen could spell me listening to him, while I projected a book or just harkened to the wheels going around in my own head against the faint patter of starlight on the hull. I met Jeff first at a space-rodeo, oddly enough, but now the two of us were out on a servicing check of the orbital beacons and relays and rescue depots of the five planets of the Shaulan system. A completely routine job, its only drawback that it was lengthy. Our ship was an ionic jeep that looked like a fancy fountain pen, but was very roomy for three men—one of them imaginary. I caught on to Jeff’s little mania by overhearing him talking to me. I’d be coming back from the head or stores or linear accelerator or my bunk, and I’d hear him yakking at me. It embarrassed me the first time, how to go back into the cabin when the other me was there. But I just swam in, and without any transition-strain at all that I could observe Jeff looked around at me, smiling sort of glaze-eyed, and said warmly, “Joe. My buddy Joe. Am I glad they paired us.” If Jeff had a major fault, as opposed to a species of nuttiness, it was that he was strictly a speak-only-good, positive-thinking guy who always deferred to me. Even idolized me, if you can imagine that. He’d give me such fulsome praise I’d be irked ten times an orbit. Another thing that helped me catch on was that he always called the other me Joseph. * * * * * At first I thought the whole thing might be a gag, or maybe a deliberate way of letting off steam against me without violating his always-a-sweet-guy code—like happy husbands cursing in the bathroom—but then came the scrambled eggs. I’d slept late and when I squinted into the cabin there was Jeff hovering over a plate of yellow fluff and shaking his finger at my empty seat and saying, “Dammit, Joseph, eat your scrambled eggs, I cooked ’em ’specially for you,” and when he crawfished out toward the galley a couple seconds later he was saying, “Now you start on those eggs, Joseph, before I get back.” I thought for a bit and then I slid into my place and polished them off. When he floated in with the coffee he gave me another of those glaze-eyed God-fearing looks—but just a mite disappointed, I thought—and said, “Dammit, Joe, you’re perfect! You always clean your plate.” Apparently when I was there, Joseph just didn’t exist for Jeff. And vice versa. It was sort of eerie, especially with the hum of space in my ears like a seashell and nobody else for five million miles. Beginning with the scrambled eggs, I discovered that Jeff didn’t exactly idolize Joseph—or even take with him the attitude of “My buddy can do no wrong,” like he did with me. I overheard him criticizing Joseph. Reasonably at first; then I heard him chewing him out—next bullying him. It made me wistful, that last, thinking how good it would feel to be full-bloodedly cursed to my face once in a while instead of all the sweetness and light. And right there I got the idea for some amateur therapy, Shaula-Deva help me. I waited for a moment when we were both relaxed and then I said, “Jeff, the trouble with you is you’re too nice. You ought to criticize things more. For a starter, criticize me. Tell me my faults. Go ahead.” He flushed a little and said, “Dammit, Joe, how can I? You’re perfect!” “No man is perfect, Jeff,” I told him solemnly, feeling pretty foolish. “But you’re my buddy I always can trust,” he protested, squirming a bit. “I wish you wouldn’t talk this way.” * * * * * “Jeff, you can’t trust anybody too far,” I said. “Even good guys can do bad things. When I was a boy there was a kid named Harry I practically worshipped. We lived on a pioneer world of Fomalhaut that had good snow, and we’d hitch rides with our sleds off little airscrew planes taking off. We’d each have a long white line on his sled and loop it beforehand around the plane’s tail-gear and back to the sled. Then we’d hide. As soon as the pilot got aboard we’d jump on our sleds and each grab the free end of his line and have one comet of a ride, until the plane took off. Then we’d quick let go. “Well, one frosty morning I let go and nothing happened, except I started to rise. Harry had tied the free end of my line tight to my sled. “I could have just rolled off, I suppose, but I didn’t want to lose my sled or my line either. Luckily I had a sheath knife handy and I used it. I even made a whizeroo of a landing. But ever afterwards my feelings toward Harry—” “Stop it, please, Joe!” Jeff interrupted, very red in the face and shaking a little. “That boy Harry was utterly evil. And I don’t want to hear any more about this, or anything like it, ever again. Understand?” I told him sure I did. Heck, I could see I’d gone the wrong way about it. I even begged his pardon. After that I just sweated it out. But I found I couldn’t spend much time on books or my thoughts, I’d keep listening for what Jeff was saying to Joseph. And sometimes when he’d pause for Joseph’s reply I’d catch myself waiting for the imaginary me to make one. So I took to staying in the same cabin as Jeff as much as I could. That seemed to make him uncomfortable after a while, though he pretended to glory in it. He’d ask me questions like, “Tell me about life, Joe. So I’ll know how to handle myself if we’re ever parted.” But the weariest things come to an end, even duty orbits around Shaula. And so the time came when we were servicing our last beacon—outside the planet Shaula-by, it was. Next step would be a fast interplanetary orbit for Base at Shaula-near. I was out working—on a safety line of course, but suit-jetting around more than I needed to, just for the pure joy of it, so that my suit tank was almost dry. I’d switched my suit radio off for a bit, because, working in space, Jeff had taken to just gabbling to me nervously all the time—maybe because he figured there couldn’t be room for Joseph with him in his suit. [Illustration: space walk] I finished up and paused for a last look at the ship. She was sweetly slim from her conical living quarters to the taper-tail of her ionic jet, but she had more junk on her than an amateur asteroid prospector hangs on his suit the first time out. Every duty orbit, fifty scientists come with permission from the Commandant to hang some automatic research gadget on the hull. The craziest one this time was a huge flattened band of gold-plated aluminum, little more than foil-thick, attached crosswise just in front of the tail and sticking out twenty feet on each side. I don’t know what it was there for—maybe to measure the effects of space on a Moebius strip—but it looked like a wedding ring that had been stepped on. So Jeff and I called it Trompled Love. But in spite of the junk, the ship looked mighty sweet against the saffron steppes and baby-blue seas of Shaula-by with Shaula herself, old Lambda Scorpii, flaming warm and wildly beyond, and with “United States” standing out big as life on the ship’s living quarters. United States of Shaula, of course. * * * * * I was almost dreaming out there, thinking how it hadn’t been such a terrible duty after all, when I saw the ship begin to slide past Shaula. Poking out of her tail, ghostlier than the flame over a cafe royale, was the evil blue glow of her jet. In an instant I’d guessed exactly what had happened and was beating myself on the head for not having anticipated it. Joseph had swum into the cabin right after Jeff. And Jeff had yelled at him. “It’s about time, you lazy lunkhead! Everything secure? Okay, I’m switching on the beam!” And I’d probably brought the whole thing about by telling him that damfool sled story—and then sticking to him so close he just had to get rid of me, so as to be with Joseph. Meanwhile the ship was gathering speed in her sneaky way and the wavy safety line between me and the airlock was starting to straighten. As you know, an ionic jet’s only good space-to-space. It’s not for heavy-G work; ours could deliver only one-half G at max and was doing less than one-quarter now. Which meant the ship was starting off slower than most ground cars. But the beam would fire for hours, building up to a terminal velocity of fifteen miles a second and carrying the ship far, far away from lonely Joe Hansen. Except that we were tied together, of course. I was very grateful then for the weeks I’d practiced space-roping, though I’d never won any prizes with it, because without thinking I started to whip my line very carefully. And on the third try, just as it was getting pretty straight, I managed to settle it in a notch in one outside end of Trompled Love. After that I took up strain on the line as gradually as I could, letting it friction through my gloves for as long as I could before putting all my mass on it—because although one-quarter G isn’t much, it piles up in a few seconds to quite a jerk. I spread that jerk into several little ones. Well, the last jerk came and the line didn’t part and Trompled Love didn’t crumple much, though the Shaula-light showed me several very nasty-looking wrinkles in it. And there I was trailing along after the ship, though out to one side, and feeling about as much strain on the line as if I were hanging from a cliff on the moon, and knowing I was going about five feet a second faster every second. * * * * * My idea wanting to be out to the side (and bless my impulses for realizing it was the one important thing!) was to keep my line and myself out of the beam. An ionic jet doesn’t look hot from the side. But from straight on it’s a lot brighter than an arc light—it’s almost as tight as a laser beam—and I didn’t want to think about what it would do to me, even trailing as I was a hundred yards aft. Though of course long before it had ruined me, it would have disintegrated my line. My being out to the side was putting the ship off balance on its jet and presumably throwing its course toward base and Shaula-near little by little into error. But that was the least of my worries, believe me. I thought for a bit and remembered I could talk to Jeff over my suit radio. I decided to try it, not without misgivings. I tongued it on and said, “Jeff. Oh, Jeff. I’m out here. You forgot me.” I was going to say some more, but just then he broke in, angry and so loud it made my helmet ring, with, “Joseph! Did you hear anything then?” A pause, then, “Well, clean the wax out of your ears, stupid, because I did! I think we got an enemy out there!” Another and longer pause, while my blood curdled a bit thicker, then, “Well, okay, Joseph, I’ll go along with you this time. But if I hear the enemy once more, I’m going to suit up and take a rifle and sit in the airlock door until I’ve potted him.” I tongued the radio off quick, fearful I’d sneeze or something. I had only one faint consolation: Joseph seemed to be a bit on my side, or maybe he was just lazy. I thought some more, a mite frantic-like now, and after a while I said to myself, _Been going five minutes now, so I’m doing about a quarter of a mile a second—that’s fifteen miles a minute, wow!—but out here velocities are purely relative. My suit does a little better than a quarter G full on. Okay. I’ll jet to the ship._ No sooner said than acted on—I was beginning to rely too much on impulse now. The suit jet killed my false weight at once and I was off, mighty careful to aim myself along my line or a little outside it, so as not to wander over into the beam. Pretty soon the tail and Trompled Love were getting noticeably bigger. Then a lot bigger. Then my suit fuel ran out. * * * * * I’d built up enough velocity so that I was still gaining on the ship for a few seconds. In fact, I almost made it. My gauntlet was about to close on Trompled Love when the ship started slowly to pull away. Oh, it was frustrating! I remembered then what I should have a lot earlier, and grabbed for the ship-end of my line so as not to lose the distance I’d gained—and in my haste I knocked it away from me. The only good thing was that I didn’t knock it out of the notch. Now I was losing space to the ship faster and faster. Yet all I could do was reel in the me-end of the line as fast as I could. Suddenly the whole line straightened and gave me a bigger jerk than I’d intended. I could see Trompled Love crumple a little. And I was swinging just a bit, like a pendulum. I used a glove-friction to spread the rest of the jerk, but still I was at the end of my line and Trompled Love had crumpled a bit more before I was coasting along with the ship again. My side of Trompled Love was bent back maybe twenty degrees. The eye of the beam shone at me from the tail like a pale blue moon. For quite a while it brightened and dimmed as I tick-tock swung. Meanwhile I was beating my skull for not having thought earlier of the obvious slow-but-safe way of doing it, instead of that lunatic suit-jetting. I once heard a psychologist say we’re mental slaves to power-machinery and I guess he had something. Clearly all I had to do was climb hand-over-hand up the line to the ship. At moon gravity that would be easy. If I should get tired I only had to clamp on and rest. So I waited for my emotions to settle a bit, and then I reached along the line and gave a smooth, medium-strength heave. Maybe there is something to ESP—at least in a devilish sort of way—because I picked the exact moment when Jeff decided to feed the beam more juice. There was a _big_ jerk and I saw Trompled Love crumple a lot, so that it was pointing more than forty-five degrees aft. Now there was a steady pull on the line like I was hanging from a cliff on Mars. And the eye of the beam was a blue moon not so pale—in fact more like a sizzling blue sun seen through a light fog. After that I just didn’t have the heart to try the climb again. Once I started to draw myself up, very cautious, but on the first handhold I seemed to feel along the line Trompled Love crumpling some more and I quit for good. I figured that at this boost Jeff would be up to proper speed for Shaula-near in less than two hours. Well, I had suit-oxy and refrigeration for longer than that. Of course if Jeff decided not to cut the beam on schedule, maybe with the idea of eloping with Joseph to the next solar system—well, I’d discover then whether suit-oxy running out would stimulate me to try the climb again alongside the beam. (Or I could wait until he got her up near the speed of light, when by the General Theory of Relativity the line ought to be shortened enough so that I could hop aboard if I were sudden enough about it.... _No, Joe Hansen, you quit that_, I told myself, _you don’t want to die with the gears in your head all stripped_.) Thinking about the beam got me wondering exactly how close I was to it. I unshipped my suit-antenna and pulled it out to full length—about eight feet—and fished around with it in the direction of the beam. Nothing seemed to happen to it. It didn’t glow or anything; but I suddenly got a little electric shock, and when I drew it back I could see three inches of the tip were gone and the next couple inches were pitted. So much for curiosity. Next I reattached the antenna to my suit—which turned out to be a lot more troublesome job than unshipping it—and tongued on the radio with the idea of listening in on Jeff. * * * * * Right away I heard him say, “Wake up, Joseph! I’m going to tell you your faults again. I got a new way of cataloguing them—chronologically. Begin with childhood. You hitched sled-rides on airplanes. That was bad, Joseph, that was against the law. If the man had caught you doing it, if he’d seen you whizzing along there back of him, he’d have had every right to shoot you down in cold blood. Life is hard, Joseph, life is merciless....” Right then I felt a tickle in my throat. I tried quick to shut off the radio, but it is remarkably difficult to tongue anything when you have a cough coming. It came out finally in a series of squeaky glubs. “Snap to, Joseph, and listen hard,” I heard Jeff say. “It’s started again. Animal noises this time. You know if they make spacesuits for black panthers, Joseph?” I tongued off the radio quick, before the follow-up cough came. I didn’t have anything left to do now but think. So I thought about Jeff—how there seemed to be one Jeff who hated my guts and another Jeff who idolized me and another Jeff sneaking around in a jungle of sabertooth tigers and ... heck, there was probably a good twenty Jeffs sitting around inside his skull, some in light, some in darkness, but all of them watching each other and arguing together all the time. It was an odd way to think of a personality—a sort of perpetual _Kaffeeklatsch_—but it had its points. Maybe some of the little guys weren’t Jeffs at all, but his father and mother and a caveman ancestor or two and maybe some great-great-grandchild butting in now and then from the future.... Well, I saw that speculation was getting out of hand so, taking a tip from Jeff, I began to count my own sins. It took quite a while. Some of them were pretty interesting reading, almost enough to take my mind off my predicament, but I tired of it finally. Then I began to count the stars. It was really the longest two hours plus I ever spent, except maybe the time my first big girl disappeared. But I don’t know. The experiences are hard to compare. I was about halfway through the stars when I went weightless. For an awful instant I thought the line had parted at last, but then I looked toward the ship and saw the bright little moon was gone. * * * * * Right away I gave a couple of tugs on the line and began to close slowly with the tail. No trouble at all—actually my only difficulty was resisting the temptation to build up more momentum, which would have resulted in a crash landing. I softed-in on Trompled Love okay, except there was a big spark. The beam must have charged me good. Then I worked my way to the true hull. After that there were handholds. Finally I got to a porthole in the living quarters, and I looked in, and there was Jeff jawing away at my empty seat. I put my helmet against the hull and very faintly I heard him say, “Joseph, I’m still worried about the enemy. I keep thinking I hear him or it. I’m going to make us some coffee, so we’ll stay real alert. You break out the guns.” I don’t suppose anyone ever moved quite so quietly _and_ so quickly in a spacesuit as I did then. I got in the airlock, I got her up to pressure, I got unsuited—and all in less than five minutes, I’m sure. Maybe less than four. I swam to the cabin. It was empty. I slid into my seat just as Jeff floated in with the coffee. He went real pale when he spotted me. I saw there might be some trouble this time with the Joseph-Joe transition. But I knew the only way to play it was real cool. I nested there in my seat as if I hadn’t a worry or urge in the world—though my nerves and throat were just screaming for a squirt of that coffee. “Joe!” he squeaked at last. “Migod, you gave me an awful scare. I thought you’d done a bunk, I thought, you’d spaced yourself, I kept picturing you outside the ship.” “Why no, Jeff,” I answered quietly. “One way or another, I’ve been in this seat ever since take-off.” His brow wrinkled as he thought about that. I looked at the board and noticed that our terminal trip-velocity read fifteen miles a second. My, my. Finally Jeff said, “That’s right, you have.” And then, just a shade unhappily, “I might have known. You always tell the truth, Joe—you’re perfect.” END TRANSCRIBER’S NOTE This etext was produced from Worlds of Tomorrow, August 1963. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Punctuation has been normalized. Spelling and hyphenation have been retained as they were in the original book. Italicized phrases are presented by surrounding the text with _underscores_. End of the Project Gutenberg EBook of A Hitch in Space, by Fritz Leiber *** END OF THIS PROJECT GUTENBERG EBOOK A HITCH IN SPACE *** ***** This file should be named 53042-0.txt or 53042-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/3/0/4/53042/ Produced by Greg Weeks and the Online Distributed Proofreading Team at http://www.pgdp.net Updated editions will replace the previous one--the old editions will be renamed. Creating the works from 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-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 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-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 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 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere 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'll have to check the laws of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm 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-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 The Project Gutenberg Trademark LLC, 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 works not protected by U.S. copyright law 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 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation 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 principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit 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-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty 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 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 Web site which has the main PG search facility: 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.