The Project Gutenberg eBook of The Return, by H. Beam Piper and John J. McGuire

Transcriber's Note:

This etext was produced from Astounding Science Fiction,
January, 1954. Extensive research did not uncover any
evidence that the copyright on this publication was renewed.

THE RETURN

BY H. BEAM PIPER

AND

JOHN J. McGUIRE

The isolated little group they found were doing fine—
but their religion was most strange—and yet quite logical!

Altamont cast a quick, routine, glance at the instrument panels and then looked down through the transparent nose of the helicopter at the yellow-brown river five hundred feet below. Next he scraped the last morsel from his plate and ate it.

"What did you make this out of, Jim?" he asked. "I hope you kept notes, while you were concocting it. It's good."

"The two smoked pork chops left over from yesterday evening," Loudons said, "and that bowl of rice that's been taking up space in the refrigerator the last couple of days together with a little egg powder, and some milk. I ground the chops up and mixed them with the rice and the other stuff. Then added some bacon, to make grease to fry it in."

Altamont chuckled. That was Loudons, all right; he could take a few left-overs, mess them together, pop them in the skillet, and have a meal that would turn the chef back at the Fort green with envy. He filled his cup and offered the pot.

Loudons held his cup out to be filled, blew on it, sipped, and then hunted on the ledge under the desk for the butt of the cigar he had half-smoked the evening before.

"Did you ever drink coffee, Monty?" the socio-psychologist asked, getting the cigar drawing to his taste.

"Coffee? No. I've read about it, of course. We'll have to organize an expedition to Brazil, some time, to get seeds, and try raising some."

"A much overrated beverage," he replied. "We found some, once, when I was on that expedition into Idaho, in what must have been the stockroom of a hotel. Vacuum-packed in moisture-proof containers, and free from radioactivity. It wasn't nearly as good as caffchoc. But then, I suppose, a pre-bustup coffee drinker couldn't stomach this stuff we're drinking." He looked forward, up the river they were following. "Get anything on the radio?" he asked. "I noticed you took us up to about ten thousand, while I was shaving."

Altamont got out his pipe and tobacco pouch, filling the former slowly and carefully.

"Not a whisper. I tried Colony Three, in the Ozarks, and I tried to call in that tribe of workers in Louisiana; I couldn't get either."

That was Loudons, too, Altamont thought. There wasn't a better man at the Fort, when it came to dealing with people, but confront him with a problem about things, and he was lost. That was one of the reasons why he and the stocky, phlegmatic social scientist made such a good team, he thought. As far as he, himself, was concerned, people were just a mysterious, exasperatingly unpredictable, order of things which were subject to no known natural laws. That was about the way Loudons thought of things; he couldn't psychoanalyze them.

He gestured with his pipe toward the nuclear-electric conversion unit, between the control-cabin and the living quarters in the rear of the box-car-sized helicopter.

"We have enough power back there to keep this windmill in the air twenty-four hours a day, three hundred and sixty-five days a year, for the next fifteen years," he said. "We just don't have enough radio. If I'd step up the power on this set any more, it'd burn out before I could say, 'Altamont calling Fort Ridgeway.'"

Altamont looked across the cabin at the big map of the United States, with its red and green and blue and yellow patchwork of vanished political divisions, and the transparent overlay on which they had plotted their course. The red line started at Fort Ridgeway, in what had once been Arizona It angled east by a little north, to Colony Three, in northern Arkansas; then sharply northeast to St. Louis and its lifeless ruins; then Chicago and Gary, where little bands of Stone Age reversions stalked and fought and ate each other; Detroit, where things that had completely forgotten that they were human emerged from their burrows only at night; Cleveland, where a couple of cobalt bombs must have landed in the lake and drenched everything with radioactivity that still lingered after two centuries; Akron, where vegetation was only beginning to break through the glassy slag; Cincinnati, where they had last stopped—

"Why, we're about fifty miles, as we follow the river, and that's relatively straight." He looked down through the transparent nose of the 'copter at a town, now choked with trees that grew among tumbled walls. "I think that's Aliquippa."

"There's a bear. Just ducked into that church or movie theater or whatever. I wonder what he thinks we are."

Altamont puffed slowly at his pipe, "I wonder if we're going to find anything at all in Pittsburgh."

"You mean people, as distinct from those biped beasts we've found so far? I doubt it," Loudons replied, finishing his caffchoc and wiping his mustache on the back of his hand. "I think the whole eastern half of the country is nothing but forest like this, and the highest type of life is just about three cuts below Homo Neanderthalensis , almost impossible to contact, and even more impossible to educate."

"I wasn't thinking about that; I've just about given up hope of finding anybody or even a reasonably high level of barbarism," Altamont said. "I was thinking about that cache of microfilmed books that was buried at the Carnegie Library."

"If it was buried," Loudons qualified. "All we have is that article in that two-century-old copy of Time about how the people at the library had constructed the crypt and were beginning the microfilming. We don't know if they ever had a chance to get it finished, before the rockets started landing."

They passed over a dam of flotsam that had banked up at a wrecked bridge and accumulated enough mass to resist the periodic floods that had kept the river usually clear. Three human figures fled across a sand-flat at one end of it and disappeared into the woods; two of them carried spears tipped with something that sparkled in the sunlight, probably shards of glass.

"You know, Monty, I get nightmares, sometimes, about what things must be like in Europe," Loudons said.

Five or six wild cows went crashing through the brush below. Altamont nodded when he saw them.

"Maybe tomorrow, we'll let down and shoot a cow," he said. "I was looking in the freezer-locker; the fresh meat's getting a little low. Or a wild pig, if we find a good stand of oak trees. I could enjoy what you'd do with some acorn-fed pork. Finished?" he asked Loudons. "Take over, then; I'll go back and wash the dishes."

They rose, and Loudons, favoring his left leg, moved over to the seat at the controls. Altamont gathered up the two cups, the stainless-steel dishes, and the knives and forks and spoons, going up the steps over the shielded converter and ducking his head to avoid the seat in the forward top machine-gun turret. He washed and dried the dishes, noting with satisfaction that the gauge of the water tank was still reasonably high, and glanced out one of the windows. Loudons was taking the big helicopter upstairs, for a better view.

Now and then, among the trees, there would be a glint of glassy slag, usually in a fairly small circle. That was to be expected; beside the three or four H-bombs that had fallen on the Pittsburgh area, mentioned in the transcripts of the last news to reach the Fort from outside, the whole district had been pelted, more or less at random, with fission bombs. West of the confluence of the Allegheny and Monongahela, it would probably be worse than this.

"Yes; it's a mess! Worse than Gary; worse than Akron, even. Monty ! Come here! I think I have something!"

Picking up the pipe he had laid down, Altamont hurried forward, dodging his six-foot length under the gun turret and swinging down from the walkway over the converter.

"Smoke. A lot of smoke, twenty or thirty fires, at the very least." Loudons had shifted from Forward to Hover , and was peering through a pair of binoculars. "See that island, the long one? Across the river from it, on the north side, toward this end. Yes, by Einstein! And I can see cleared ground, and what I think are houses, inside a stockade—"

Murray Hughes walked around the corner of the cabin, into the morning sunlight, lacing his trousers, with his hunting shirt thrown over his bare shoulders, and found, without much surprise, that his father had also slept late. Verner Hughes was just beginning to shave. Inside the kitchen, his mother and the girls were clattering pots and skillets; his younger brother, Hector, was noisily chopping wood. Going through the door, he filled another of the light-metal basins with hot water, found his razor, and went outside again, setting the basin on the bench.

Most of the ware in the Hughes cabin was of light-metal; Murray and his father had mined it in the dead city up the river, from a place where it had floated to the top of a puddle of slag, back when the city had been blasted, at the end of the Old Times. It had been hard work, but the stuff had been easy to carry down to where they had hidden their boat, and, for once, they'd had no trouble with the Scowrers. Too bad they couldn't say as much for yesterday's hunting trip!

As he rubbed lather into the stubble on his face, he cursed with irritation. That had been a bad-luck hunt, all around. They'd gone out before dawn, hunting into the hills to the north, they'd spent all day at it, and shot one small wild pig. Lucky it was small, at that. They'd have had to abandon a full-grown one, after the Scowrers began hunting them. Six of them, as big a band as he'd ever seen together at one time, and they'd gotten between them and the stockade and forced them to circle miles out of their way. His father had shot one, and he'd had to leave his hatchet sticking in the skull of another, when his rifle had misfired.

That meant a trip to the gunsmith's, for a new hatchet and to have the mainspring of the rifle replaced. Nobody could afford to have a rifle that couldn't be trusted, least of all a hunter and prospector. And he'd had words with Alex Barrett, the gunsmith, just the other day. Not that Barrett wouldn't be more than glad to do business with him, once he saw that hard tool-steel he'd dug out of that place down the river. Hardest steel he'd ever found, and hadn't been atom-spoiled, either.

He cleaned, wiped and stropped his razor and put it back in the case; he threw out the wash-water on the compost-pile, and went into the cabin, putting on his shirt and his belt, and passed on through to the front porch, where his father was already eating at the table. The people of the Toon liked to eat in the open; it was something they'd always done, just as they'd always liked to eat together in the evenings.

He sweetened his mug of chicory with a lump of maple sugar and began to sip it before he sat down, standing with one foot on the bench and looking down across the parade ground, past the Aitch-Cue House, toward the river and the wall.

"If you're coming around to Alex's way of thinking—and mine—it won't hurt you to admit it, son," his father said.

He turned, looking at his father with the beginning of anger, and then grinned. The elders were constantly keeping the young men alert with these tests. He checked back over his actions since he had come out onto the porch.

To the table, sugar in his chicory, one foot on the bench, which had reminded him again of the absence of the hatchet from his belt and brought an automatic frown. Then the glance toward the gunsmith's shop, and across the parade ground, at the houses into which so much labor had gone; the wall that had been built from rubble and topped with pointed stakes; the white slabs of marble from the ruined building that marked the graves of the First Tenant and the men of the Old Toon. He had thought, in that moment, that maybe his father and Alex Barrett and Reader Rawson and Tenant Mycroft Jones and the others were right—there were too many things here that could not be moved along with them, if they decided to move.

It would be false modesty, refusal to see things as they were, not to admit that he was the leader of the younger men, and the boys of the Irregulars. And last winter, the usual theological arguments about the proper chronological order of the Sacred Books and the true nature of the Risen One had been replaced by a violent controversy when Sholto Jiminez and Birdy Edwards had reopened the old question of the advisability of moving the Toon and settling elsewhere. He'd been in favor of the idea himself, but, for the last month or so, he had begun to doubt the wisdom of it. It was probably reluctance to admit this to himself that had brought on the strained feelings between himself and his old friend the gunsmith.

"I'll have to drill the Irregulars, today," he said. "Birdy Edwards has been drilling them, while we've been hunting. But I'll go up and see Alex about a new hatchet and fixing my rifle. I'll have a talk with him."

He stepped forward to the edge of the porch, still munching on a honey-dipped piece of corn bread, and glanced up at the sky. That was a queer bird; he'd never seen a bird with a wing action like that. Then he realized that the object was not a bird at all.

But Murray was already racing across the parade ground toward the Aitch-Cue House, where the big iron ring hung by its chain from a gallows-like post, with the hammer beside it.

The stockaded village grew larger, details became plainer, as the helicopter came slanting down and began spiraling around it. It was a fairly big place, some forty or fifty acres in a rough parallelogram, surrounded by a wall of varicolored stone and brick and concrete rubble from old ruins, topped with a palisade of pointed poles. There was a small jetty projecting out into the river, to which six or eight boats of different sorts were tied; a gate opened onto this from the wall. Inside the stockade, there were close to a hundred buildings, ranging from small cabins to a structure with a belfry, which seemed to have been a church, partly ruined in the war of two centuries ago and later rebuilt. A stream came down from the woods, across the cultivated land around the fortified village; there was a rough flume which carried the water from a dam close to the edge of the forest and provided a fall to turn a mill wheel.

"Look; strip-farming," Loudons pointed. "See the alternate strips of grass and plowed ground. Those people understand soil conservation. They have horses, too."

As he spoke, three riders left the village at a gallop, through a gate on the far side. They separated, and the people in the fields, who had all started for the village, turned and began hurrying toward the woods. Two of the riders headed for a pasture in which cattle had been grazing, and started herding them, also, into the woods. For a while, there was a scurrying of little figures in the village below, and then not a moving thing was in sight.

"There's good organization," Loudons said. "Everybody seems to know what to do, and how to get it done promptly. And look how neat the whole place is. Policed up. I'll bet anything we'll find that they have a military organization, or a military tradition at least. We'll have to find out; you can't understand a people till you understand their background and their social organization."

"Humph. Let me have a look at their artifacts; that'll tell what kind of people they are," Altamont said, swinging his glasses back and forth over the enclosure. "Water-power mill, water-power sawmill—building on the left side of the water wheel; see the pile of fresh lumber beside it. Blacksmith shop, and from that chimney I'd say a small foundry, too. Wonder what that little building out on the tip of the island is; it has a water wheel. Undershot wheel, and it looks as though it could be raised or lowered. But the building's too small for a grist mill. Now, I wonder—"

"Monty, I think we ought to land right in the middle of the enclosure, on that open plaza thing, in front of that building that looks like a reconditioned church. That's probably the Royal Palace, or the Pentagon, or the Kremlin, or whatever."

Altamont started to object, paused, and then nodded. "I think you're right, Jim. From the way they scattered, and got their livestock into the woods, they probably expect us to bomb them. We have to get inside; that's the quickest way to do it." He thought for a moment. "We'd better be armed, when we go out. Pistols, auto-carbines, and a few of those concussion-grenades in case we have to break up a concerted attack. I'll get them."

The plaza and the houses and cabins around it, and the two-hundred-year-old church, were silent and, apparently, lifeless as they set the helicopter down. Once Loudons caught a movement inside the door of a house, and saw a metallic glint. Altamont pointed up at the belfry.

"There's a gun up there," he said. "Looks like about a four-pounder. Brass. I knew that smith-shop was also a foundry. See that little curl of smoke? That's the gunner's slow-match. I'd thought maybe that thing on the island was a powder mill. That would be where they'd put it. Probably extract their niter from the dung of their horses and cows. Sulfur probably from coal-mine drainage. Jim, this is really something!"

"I hope they don't cut loose on us with that thing," Loudons said, looking apprehensively at the brass-rimmed black muzzle that was covering them from the belfry. "I wonder if we ought to—Oh-oh, here they come!"

Three or four young men stepped out of the wide door of the old church. They wore fringed buckskin trousers and buckskin shirts and odd caps of deerskin with visors to shade their eyes and similar beaks behind to protect the neck. They had powder horns and bullet pouches slung over their shoulders, and long rifles in their hands. They stepped aside as soon as they were out; carefully avoiding any gesture of menace, they stood watching the helicopter which had landed among them.

Three other men followed them out; they, too, wore buckskins, and the odd double-visored caps. One had a close-cropped white beard, and on the shoulders of his buckskin shirt he wore the single silver bars of a first lieutenant of the vanished United States Army. He had a pistol on his belt; it had the saw-handle grip of an automatic, but it was a flintlock, as were the rifles of the young men who stood watchfully on either side of the two middle-aged men who accompanied him. The whole party advanced toward the helicopter.

"All right; come on, Monty." Loudons opened the door and let down the steps. Picking up an auto-carbine, he slung it and stepped out of the helicopter, Altamont behind him. They advanced to meet the party from the old church, halting when they were about twenty feet apart.

"I must apologize, lieutenant, for dropping in on you so unceremoniously." He stopped, wondering if the man with the white beard understood a word of what he was saying.

"The natural way to come in, when you travel in the air," the old man replied. "At least, you came in openly. I can promise you a better reception than you got at that city to the west of us a couple of days ago."

"Now how did you know we'd had trouble at Cincinnati day-before-yesterday?" Loudons demanded.

The old man's eyes sparkled with childlike pleasure. "That surprises you, my dear sir? In a moment, I daresay you'll be amazed at the simplicity of it. You have a nasty rip in the left leg of your trousers, and the cloth around it is stained with blood. Through the rip, I perceive a bandage. Obviously, you have suffered a recent wound. I further observe that the side of your flying machine bears recent scratches, as though from the spears or throwing-hatchets of the Scowrers. Evidently they attacked you as you were leaving it; it is fortunate that these cannibal devils are too stupid and too anxious for human flesh to exercise patience."

"Well, that explains how you knew we'd been recently attacked," Loudons told him. "But how did you guess that it had been to the west of here, in a ruined city?"

"I never guess," the oldster with the silver bar and the keystone-shaped red patch on his left shoulder replied. "It is a shocking habit—destructive to the logical faculty. What seems strange to you is only so because you do not follow my train of thought. For example, the wheels and their framework under your flying machine are splashed with mud which seems to be predominantly brick-dust, mixed with plaster. Obviously, you landed recently in a dead city, either during or after a rain. There was a rain here yesterday evening, the wind being from the west. Obviously, you followed behind the rain as it came up the river. And now that I look at your boots, I see traces of the same sort of mud, around the soles and in front of the heels. But this is heartless of us, keeping you standing here on a wounded leg, sir. Come in, and let our medic look at it."

"Well, thank you, lieutenant," Loudons replied. "But don't bother your medic; I've attended to the wound myself, and it wasn't serious to begin with."

"Of sorts. A sort of general scientist. My name is Loudons. My friend, Mr. Altamont, here, is a scientist, also."

There was an immediate reaction; all three of the elders of the village, and the young riflemen who had accompanied them, exchanged glances of surprise. Loudons dropped his hand to the grip of his slung auto-carbine, and Altamont sidled unobtrusively away from him, his hand moving as by accident toward the butt of his pistol. The same thought was in both men's minds, that these people might feel, as a heritage of the war of two centuries ago, a hostility to science and scientists. There was no hostility, however, in their manner as the old man advanced and held out his hand.

"I am Tenant Mycroft Jones, the Toon Leader here," he said. "This is Stamford Rawson, our Reader, and Verner Hughes, our Toon Sarge. This is his son, Murray Hughes, the Toon Sarge of the Irregulars. But come into the Aitch-Cue House, gentlemen. We have much to talk about."

By this time, the villagers had begun to emerge from the log cabins and rubble-walled houses around the plaza and the old church. Some of them, mostly young men, were carrying rifles, but the majority of them were unarmed. About half of them were women, in short deerskin or homespun dresses; there were a number of children, the younger ones almost completely naked.

"Sarge," the old man told one of the youths, "post a guard over this flying machine; don't let anybody meddle with it. And have all the noncoms and techs report here, on the double." He turned and shouted up at the truncated steeple: "Atherton, sound 'All Clear!'"

A horn, up in the belfry, began blowing, to advise the people who had run from the fields into the woods that there was no danger.

They went through the open doorway of the old stone church, and entered the big room inside. The building had evidently been gutted by fire, two centuries before, and portions of the wall had been restored. Now there was a rough plank floor, and a plank ceiling at about twelve feet; the room was apparently used as a community center. There were a number of benches and chairs, all very neatly made, and along one wall, out of the way, ten or fifteen long tables had been stacked, the tops in a pile and the trestles on them. The walls were decorated with trophies of weapons—a number of old M-12 rifles and M-16 submachine guns, all in good clean condition, a light machine rifle, two bazookas. Among them were stone and metal-tipped spears and crude hatchets and knives and clubs, the work of the wild men of the woods. A stairway led to the second floor, and it was up this that the man who bore the title of Toon Leader conducted them, to a small room furnished with a long table, a number of chairs, and several big wooden chests bound with iron.

"Sit down, gentlemen," the Toon Leader invited, going to a cupboard and producing a large bottle stopped with a corncob and a number of small cups. "It's a little early in the day," he said, "but this is a very special occasion. You smoke a pipe, I take it?" he asked Altamont. "Then try some of this; of our own growth and curing." He extended a doeskin moccasin, which seemed to be the tobacco-container.

Altamont looked at the thing dubiously, then filled his pipe from it. The oldster drew his pistol, pushed a little wooden plug into the vent, added some tow to the priming, and, aiming at the wall, snapped it. Evidently, at times the formality of plugging the vent had been overlooked; there were a number of holes in the wall there. This time, however, the pistol didn't go off. He shook out the smoldering tow, blew it into flame, and lit a candle from it, offering the light to Altamont. Loudons got out a cigar and lit it from the candle; the others filled and lighted pipes. The Toon Leader reprimed his pistol, then holstered it, took off his belt and laid it aside, an example the others followed.

They drank ceremoniously, and then seated themselves at the table. As they did, two more men came into the room; they were introduced as Alexander Barrett, the gunsmith, and Stanley Markovitch, the distiller.

The others nodded, in the manner of people who wish to conceal ignorance; it was obvious that none of them had ever heard of Fort Ridgeway, or Arizona either.

"We've been in what used to be Utah," Altamont said. "There's nobody there but a few Indians, and a few whites who are even less civilized."

"You say you come from a fort? Then the wars aren't over, yet?" Sarge Hughes asked.

"The wars have been over for a long time. You know how terrible they were. You know how few in all the country were left alive," Loudons said.

"None that we know of, beside ourselves and the Scowrers until you came," the Toon Leader said.

"We have found only a few small groups, in the whole country, who have managed to save anything of the Old Times. Most of them lived in little villages and cultivated land. A few had horses, or cows. None, that we have ever found before, made guns and powder for themselves. But they remembered that they were men, and did not eat one another. Whenever we find a group of people like this, we try to persuade them to let us help them."

"Why?" the Toon Leader asked. "Why do you do this for people you've never met before? What do you want from them—from us—in return for your help?" He was speaking to Altamont, rather than to Loudons; it seemed obvious that he believed Altamont to be the leader and Loudons the subordinate.

"Because we're trying to bring back the best things of the Old Times," Altamont told him. "Look; you've had troubles, here. So have we, many times. Years when the crops failed; years of storms, or floods; troubles with these beast-men in the woods. And you were alone, as we were, with no one to help. We want to put all men who are still men in touch with one another, so that they can help each other in trouble, and work together. If this isn't done soon, everything which makes men different from beasts will soon be no more."

"He's right. One of us, alone, is helpless," the Reader said. "It is only in the Toon that there is strength. He wants to organize a Toon of all Toons."

"That's about it. We are beginning to make helicopters like the one Loudons and I came here in. We'll furnish your community with one or more of them. We can give you a radio, so that you can communicate with other communities. We can give you rifles and machine guns and ammunition, to fight the ... the Scowrers, did you call them? And we can give you atomic engines, so that you can build machines for yourselves."

"Some of our people—Alex Barrett, here, the gunsmith, and Stan Markovitch, the distiller, and Harrison Grant, the iron worker—get their living by making things. How'd they make out, after your machines came in here?" Verner Hughes asked.

"We've thought of that; we had that problem with other groups we've helped," Loudons said. "In some communities, everybody owns everything in common; we don't have much of a problem, there. Is that the way you do it, here?"

"Well, no. If a man makes a thing, or digs it out of the ruins, or catches it in the woods, it's his."

"Then we'll work out some way. Give the machines to the people who are already in a trade, or something like that. We'll have to talk it over with you and with the people who'd be concerned."

"How is it you took so long finding us," Alex Barrett asked. "It's been two hundred or so years since the Wars."

"Alex! You see but you do not observe!" The Toon Leader rebuked. "These people have their flying machines, which are highly complicated mechanisms. They would have to make tools and machines to make them, and tools and machines to make those tools and machines. They would have to find materials, often going far in search of them. The marvel is not that they took so long, but that they did it so quickly."

"That's right," Altamont said. "Originally, Fort Ridgeway was a military research and development center. As the country became disorganized, the Government set this project up, to develop ways of improvising power and transportation and communication methods and extracting raw materials. If they'd had a little more time, they might have saved the country. As it was, they were able to keep themselves alive and keep something like civilization going at the Fort, while the whole country was breaking apart around them. Then, when the rockets stopped falling, they started to rebuild. Fortunately, more than half the technicians at the Fort were women; there was no question of them dying out. But it's only been in the last twenty years that we've been able to make nuclear-electric engines, and this is the first time any of us have gotten east of the Mississippi."

"How did your group manage to survive?" Loudons said. "You call it the Toon; I suppose that's what the word platoon has become, with time. You were, originally, a military platoon?"

" Pla -toon!" the white-bearded man said. "Of all the unpardonable stupidity! Of course that was what it was. And the title, Tenant, was originally lieu -tenant; I know that, though we have all dropped the first part of the word. That should have led me, if I'd used my wits, to deduce platoon from toon.

"Yes, sir. We were originally a platoon of soldiers, two hundred years ago, at the time when the Wars ended. The Old Toon, and the First Tenant, were guarding pows, whatever they were. The pows were all killed by a big bomb, and the First Tenant, Lieutenant Gilbert Dunbar, took his ... his platoon and started to march to Deecee, where the Government was, but there was no Government, any more. They fought with the people along the way. When they needed food, or ammunition, or animals to pull their wagons, they took them, and killed those who tried to prevent them. Other people joined the Toon, and when they found women whom they wanted, they took them. They did all sorts of things that would have been crimes if there had been any law, but since there was no law any longer, it was obvious that there could be no crime. The First Ten—Lieutenant—kept his men together, because he had The Books. Each evening, at the end of each day's march, he read to his men out of them.

"Finally, they came here. There had been a town here, but it had been burned and destroyed, and there were people camping in the ruins. Some of them fought and were killed; others came in and joined the platoon. At first, they built shelters around this building, and made this their fort. Then they cleared away the ruins, and built new houses. When the cartridges for the rifles began to get scarce, they began to make gunpowder, and new rifles, like these we are using now, to shoot without cartridges. Lieutenant Dunbar did this out of his own knowledge, because there is nothing in The Books about making gunpowder; the guns in The Books are rifles and shotguns and revolvers and airguns; except for the airguns, which we haven't been able to make, these all shot cartridges. As with your people, we did not die out, because we had women. Neither did we increase greatly—too many died or were killed young. But several times we've had to tear down the wall and rebuild it, to make room inside it for more houses, and we've been clearing a little more land for fields each year. We still read and follow the teachings of The Books; we have made laws for ourselves out of them."

"And we are waiting here, for the Slain and Risen One," Tenant Jones added, looking at Altamont intently. "It is impossible that He will not, sooner or later, deduce the existence of this community. If He has not done so already."

"Well, sir," the Toon Leader changed the subject abruptly, "enough of this talk about the past. If I understand rightly, it is the future in which you gentlemen are interested." He pushed back the cuff of his hunting shirt and looked at an old and worn wrist watch. "Eleven-hundred; we'll have lunch shortly. This afternoon, you will meet the other people of the Toon, and this evening, at eighteen-hundred, we'll have a mess together outdoors. Then, when we have everybody together, we can talk over your offer to help us, and decide what it is that you can give us that we can use."

"You spoke, a while ago, of what you could do for us, in return," Altamont said. "There's one thing you can do, no further away than tomorrow, if you're willing."

"In Pittsburgh, somewhere, there is an underground crypt, full of books. Not bound and printed books; spools of microfilm. You know what that is?"

"They are spools on which strips are wound, on which pictures have been taken of books, page by page. We can make other, larger pictures from them, big enough to be read—"

"Oh, photographs, which you enlarge. I understand that. You mean, you can make many copies of them?"

"That's right. And you shall have copies, as soon as we can take the originals back to Fort Ridgeway, where we have equipment for enlarging them. But while we have information which will help us to find the crypt where the books are, we will need help in getting it open."

"Of course! This is wonderful. Copies of The Books!" the Reader exclaimed. "We thought we had the only one left in the world!"

"Not just The Books, Stamford; other books," the Toon Leader told him. "The books which are mentioned in The Books. But of course we will help you. You have a map to show where they are?"

"Not a map; just some information. But we can work out the location of the crypt."

They lunched together at the house of Toon Sarge Hughes with the Toon Leader and the Reader and five or six of the leaders of the community. The food was plentiful, but Altamont found himself wishing that the first book they found in the Carnegie Library crypt would be a cook book.

In the afternoon, he and Loudons separated. The latter attached himself to the Tenant, the Reader, and an old woman, Irene Klein, who was almost a hundred years old and was the repository and arbiter of most of the community's oral legends. Altamont, on the other hand, started, with Alex Barrett, the gunsmith, and Mordecai Ricci, the miller, to inspect the gunshop and grist mill. Joined by half a dozen more of the village craftsmen, they visited the forge and foundry, the sawmill, the wagon shop. Altamont looked at the flume, a rough structure of logs lined with sheet aluminum, and at the nitriary, a shed-roofed pit in which potassium nitrate was extracted from the community's animal refuse. Then, loading his guides into the helicopter, they took off for a visit to the powder mill on the island and a trip up the river.

They were a badly scared lot, for the first few minutes, as they watched the ground receding under them through the transparent plastic nose. Then, when nothing disastrous seemed to be happening, exhilaration took the place of fear, and by the time they set down on the tip of the island, the eight men were confirmed aviation enthusiasts. The trip up-river was an even bigger success; the high point came when Altamont set his controls for Hover , pointed out a snarl of driftwood in the stream, and allowed his passengers to fire one of the machine guns at it. The lead balls of their own black-powder rifles would have plunked into the waterlogged wood without visible effect; the copper-jacketed machine-gun bullets ripped it to splinters. They returned for a final visit to the distillery awed by what they had seen.

"Monty, I don't know what the devil to make of this crowd," Loudons said, that evening, after the feast, when they had entered the helicopter and prepared to retire. "We've run into some weird communities—that lot down in Old Mexico who live in the church and claim they have a divine mission to redeem the world by prayer, fasting and flagellation, or those yogis in Los Angeles—"

"That's understandable," Loudons said, "after what their ancestors went through in the Last War. But this crowd, here! The descendants of an old United States Army infantry platoon, with a fully developed religion centered on a slain and resurrected god—Normally, it would take thousands of years for a slain-god religion to develop, and then only from the field-fertility magic of primitive agriculturists. Well, you saw these people's fields from the air. Some of the members of that old platoon were men who knew the latest methods of scientific farming; they didn't need naive fairy tales about the planting and germination of seed."

"Absolutely not. In the first place, these Sacred Books can't be the Bible—you heard Tenant Jones say that they mentioned firearms that used cartridges. That means that they can't be older than 1860 at the very earliest. And in the second place, this slain god wasn't crucified or put to death by any form of execution; he perished, together with his enemy, in combat, and both god and devil were later resurrected. The Enemy is supposed to be the master mind back of these cannibal savages in the woods and also in the ruins."

Loudons shook his head disgustedly. "Every time I brought up the question, they evaded. The Tenant sent the Reader out to bring in this old lady, Irene Klein—she was a perfect gold mine of information about the history and traditions of the Toon, by the way—and then he sent him out on some other errand, undoubtedly to pass the word not to talk to us about their religion."

"I don't get that," Altamont said. "They showed me everything they had—their gunshop, their powder mill, their defenses, everything." He smoked in silence for a moment. "Say, this slain god couldn't be the original platoon commander, could he?"

"No. They have the greatest respect for his memory—decorate his grave regularly, drink toasts to him—but he hasn't been deified. They got the idea for this deity of theirs out of the Sacred Books." Loudons gnawed the end of his cigar and frowned. "Monty, this has me worried like the devil, because I believe that they suspect that you are the Slain and Risen One."

"Could be, at that. I know the Tenant came up to me, very respectfully, and said, 'I hope you don't think, sir, that I was presumptuous in trying to display my humble deductive abilities to you .'"

"Told him certainly not; that he'd used a good quick method of demonstrating that he and his people weren't like those mindless subhumans in the woods."

"That was all right. I don't know how we're going to handle this. They only suspect that you are their deity. As it stands, now, we're on trial, here. And I get the impression that logic, not faith, seems to be their supreme religious virtue; that skepticism is a religious obligation instead of a sin. That's something else that's practically unheard of. I wish I knew—"

Tenant Mycroft Jones, and Reader Stamford Rawson and Toon Sarge Verner Hughes, and his son Murray Hughes, sat around the bare-topped table in the room, on the second floor of the Aitch-Cue House. A lighted candle flickered in the cool breeze that came in through the open window throwing their shadows back and forth on the walls.

"Pass the tantalus, Murray," the Tenant said, and the youngest of the four handed the corncob-corked bottle to the eldest. Tenant Jones filled his cup, and then sat staring at it, while Verner Hughes thrust his pipe into the toe of the moccasin and filled it. Finally, he drank about half of the clear wild-plum brandy.

"Gentlemen, I am baffled," he confessed. "We have three alternate possibilities here, and we dare not disregard any of them. Either this man who calls himself Altamont is truly He, or he is merely what we are asked to believe, one of a community like ours, with more of the old knowledge than we possess."

"You know my views," Verner Hughes said. "I cannot believe that He was more than a man, as we are. A great, a good, a wise man, but a man and mortal."

"Let's not go into that, now." The Reader emptied his cup and took the bottle, filling it again. "You know my views, too. I hold that He is no longer upon earth in the flesh, but lives in the spirit and is only with us in the spirit. There are three possibilities, too, none of which can be eliminated. But what was your third possibility, Tenant?"

"That they are creatures of the Enemy. Perhaps that one or the other of them is the Enemy."

Reader Rawson, lifting his cup to his lips, almost strangled. The Hugheses, father and son, stared at Tenant Jones in horror.

"The Enemy—with such weapons and resources!" Murray Hughes gasped. Then he emptied his cup and refilled it. "No! I can't believe that; he'd have struck before this and wiped us all out!"

"Not necessarily, Murray," the Tenant replied. "Until he became convinced that his agents, the Scowrers, could do nothing against us, he would bide his time. He sits motionless, like a spider, at the center of the web; he does little himself; his agents are numerous. Or, perhaps, he wishes to recruit us into his hellish organization."

"It is a possibility," Reader Rawson admitted. "One which we can neither accept nor reject safely. And we must learn the truth as soon as possible. If this man is really He, we must not spurn Him on mere suspicion. If he is a man, come to help us, we must accept his help; if he is speaking the truth, the people who sent him could do wonders for us, and the greatest wonder would be to make us, again, a part of a civilized community. And if he is the Enemy—"

"What do you mean, son? Oh, I see. Of course, I don't believe he is, but that's mere doubt, not negative certainty. But if I'm wrong, if this man is truly He, we are being tested. He has come among us incognito; if we are worthy of Him, we will penetrate His disguise."

"A very pretty problem, gentlemen," the Tenant said, smacking his lips over his brandy. "For all that it may be a deadly serious one for us. There is, of course, nothing that we can do tonight. But tomorrow, we have promised to help our visitors, whoever they may be, in searching for this crypt in the city. Murray, you were to be in charge of the detail that was to accompany them. Carry on as arranged, and say nothing of our suspicions, but advise your men to keep a sharp watch on the strangers, that they may learn all they can from them. Stamford, you and Verner and I will go along. We should, if we have any wits at all, observe something."

"Listen to this infernal thing!" Altamont raged. "' Wielding a gold-plated spade handled with oak from an original rafter of the Congressional Library, at three-fifteen one afternoon last week— ' One afternoon last week!" He cursed luridly. "Why couldn't that blasted magazine say what afternoon? I've gone over a lot of twentieth century copies of that magazine; that expression was a regular cliché with them."

"Well, we know it was between June thirteen and nineteen, inclusive," he said. "And there's a picture of the university president, complete with gold-plated spade, breaking ground. Call it Wednesday, the sixteenth. Over there's the tip of the shadow of the old Cathedral of Learning, about a hundred yards away. There are so many inexactitudes that one'll probably cancel out another."

"That's so, and it's also pretty futile getting angry at somebody who's been dead two hundred years, but why couldn't they say Wednesday, or Monday, or Saturday, or whatever?" He checked back in the astronomical handbook, and the photostated pages of the old almanac, and looked over his calculations. "All right, here's the angle of the shadow, and the compass-bearing. I had a look, yesterday, when I was taking the local citizenry on that junket. The old baseball diamond at Forbes Field is plainly visible, and I located the ruins of the Cathedral of Learning from that. Here's the above-sea-level altitude of the top of the tower. After you've landed us, go up to this altitude—use the barometric altimeter, not the radar—and hold position."

Loudons leaned forward from the desk to the contraption Altamont had rigged in the nose of the helicopter—one of the telescope-sighted hunting rifles clamped in a vise, with a compass and a spirit-level under it.

"Rifle's pointing downward at the correct angle now?" he asked. "Good. Then all I have to do is hold the helicopter steady, keep it at the right altitude, level, and pointed in the right direction, and watch through the sight while you move the flag around, and direct you by radio. Why wasn't I born quintuplets?"

"Mr. Altamont! Dr. Loudons!" a voice outside the helicopter called. "Are you ready for us, now?"

Altamont went to the open door and looked out. The old Toon Leader, the Reader, Toon Sarge Hughes, his son, and four young men in buckskins with slung rifles, were standing outside.

"I have decided," the Tenant said, "that Mr. Rawson and Sarge Hughes and I would be of more help than an equal number of younger men. We may not be as active, but we know the old ruins better, especially the paths and hiding places of the Scowrers. These four young men you probably met last evening; it will do no harm to introduce them again. Birdy Edwards; Sholto Jiminez; Jefferson Burns; Murdo Olsen."

"Very pleased, Tenant, gentlemen. I met all you young men last evening; I remember you," Altamont said. "Now, if you'll all crowd in here, I'll explain what we're going to try to do."

He showed them the old picture. "You see where the shadow of a tall building falls?" he asked. "We know the location and height of this building. Dr. Loudons will hold this helicopter at exactly the position of the top of the building, and aim through the sights of the rifle, there. One of you will have this flag in his hand, and will move it back and forth; Dr. Loudons will tell us when the flag is in the sight of the rifle."

"We'll use radio. A portable set on the ground, and the helicopter's radio set." He was met, to his surprise, with looks of incomprehension. He had not supposed that these people would have lost all memory of radio communication.

"Why, that's wonderful!" the Reader exclaimed, when he explained. "You can talk directly; how much better than just sending a telegram!"

"But, finding the crypt by the shadow; that's exactly like the—" Murray Hughes began, then stopped short. Immediately, he began talking loudly about the rifle that was to be used as a surveying transit, comparing it with the ones in the big first-floor room at the Aitch-Cue House.

Locating the point on which the shadow of the old Cathedral of Learning had fallen proved easier than either Altamont or Loudons had expected. The towering building was now a tumbled mass of slagged rubble, but it was quite possible to determine its original center, and with the old data from the excellent reference library at Fort Ridgeway, its height above sea level was known. After a little jockeying, the helicopter came to a hovering stop, and the slanting barrel of the rifle in the vise pointed downward along the line of the shadow that had been cast on that afternoon in June, 1993, the cross hairs of the scope-sight centered almost exactly on the spot Altamont had estimated on the map. While he peered through the sight, Loudons brought the helicopter slanting down to land on the sheet of fused glass that had once been a grassy campus.

"Well, this is probably it," Altamont said. "We didn't have to bother fussing around with that flag, after all. That hump, over there, looks as though it had been a small building, and there's nothing corresponding to it on the city map. That may be the bunker over the stair-head to the crypt."

They began unloading equipment—a small portable nuclear-electric conversion unit, a powerful solenoid-hammer, crowbars and intrenching tools, tins of blasting-plastic. They took out the two hunting rifles, and the auto-carbines, and Altamont showed the young men of Murray Hughes' detail how to use them.

"If you'll pardon me, sir," the Tenant said to Altamont, "I think it would be a good idea if your companion went up in the flying machine and circled around over us, to keep watch for Scowrers. There are quite a few of them, particularly farther up the rivers, to the east, where the damage was not so great and they can find cellars and shelters and buildings to live in."

"Good idea; that way, we won't have to put out guards," Altamont said. "From the looks of this, we'll need everybody to help dig into that thing. Hand out one of the portable radios, Jim, and go up to about a thousand feet. If you see anything suspicious, give us a yell, and then spray it with bullets, and find out what it is afterward."

They waited until the helicopter had climbed to position and was circling above, and then turned their attention to the place where the sheet of fused earth and stone bulged upward. It must have been almost ground-zero of one of the hydrogen-bombs; the wreckage of the Cathedral of Learning had fallen predominantly to the north, and the Carnegie Library was tumbled to the east.

"I think the entrance would be on this side, toward the Library," Altamont said. "Let's try it, to begin with."

He used the solenoid-hammer, slowly pounding a hole into the glaze, and placed a small charge of the plastic explosive. Chunks of the lavalike stuff pelted down between the little mound and the huge one of the old library, blowing a hole six feet in diameter and two and a half deep, revealing concrete bonded with crushed steel-mill slag.

"We missed the door," he said. "That means we'll have to tunnel in through who knows how much concrete. Well—"

He used a second and larger charge, after digging a hole a foot deep. When he and his helpers came up to look, they found a large mass of concrete blown out, and solid steel behind it. Altamont cut two more holes sidewise, one on either side of the blown-out place, and fired a charge in each of them, bringing down more concrete. He found that he hadn't missed the door, after all. It had merely been concreted over.

A few more shots cleared it, and after some work, they got it open. There was a room inside, concrete-floored and entirely empty. With the others crowding behind him, Altamont stood in the doorway and inspected the interior with his flashlight; he heard somebody back of him say something about a most peculiar sort of a dark-lantern. Across the small room, on the opposite wall, was a bronze plaque.

It carried quite a lengthy inscription, including the names of all the persons and institutions participating in the microfilm project. The History Department at the Fort would be most interested in that, but the only thing that interested Altamont was the statement that the floor had been laid over the trapdoor leading to the vaults where the microfilms were stored. He went outside to the radio.

"Hello, Jim. We're inside, but the films are stored in an underground vault, and we have to tear up a concrete floor," he said. "Go back to the village and gather up all the men you can carry, and tools. Hammers and picks and short steel bars. I don't want to use explosives inside. The interior of the crypt oughtn't to be damaged, and I don't know what a blast in here might do to the film, and I don't want to take chances."

"Haven't the least idea. Plenty thick, I'd say. Those films would have to be well buried, to shield them from radioactivity. We can expect that it'll take some time."

The helicopter turned and went windmilling away, over what had been the Golden Triangle, down the Ohio.

Altamont went back to the little concrete bunker and sat down, lighting his pipe. Murray Hughes and his four riflemen spread out, one circling around the glazed butte that had been the Cathedral of Learning, another climbing to the top of the old library, and the others taking positions to the south and east.

Altamont sat in silence, smoking his pipe and trying to form some conception of the wealth under that concrete floor. It was no use. Jim Loudons probably understood a little more nearly what those books would mean to the world of today, and what they could do toward shaping the world of the future. There was a library at Fort Ridgeway, and it was an excellent one—for its purpose. In 1996, when the rockets had come crashing down, it had contained the cream of the world's technological knowledge—and very little else. There was a little fiction, a few books of ideas, just enough to give the survivors a tantalizing glimpse of the world of their fathers. But now—

A rifle banged to the south and east, and banged again. Either Murray Hughes or Birdy Edwards—it was one of the two hunting rifles from the helicopter. On the heels of the reports, they heard a voice shouting: "Scowrers! A lot of them, coming from up the river!" A moment later, there was a light whip-crack of one of the long muzzle-loaders, from the top of the old Carnegie Library, and Altamont could see a wisp of gray-white smoke drifting away from where it had been fired. He jumped to his feet and raced for the radio, picking it up and bringing it to the bunker.

Tenant Jones, old Reader Rawson, and Verner Hughes had caught up their rifles. The Tenant was shouting, "Come on in! Everybody, come in!" The boy on top of the library began scrambling down. Another came running from the direction of the half-demolished Cathedral of Learning, a third from the baseball field that had served as Altamont's point of reference the afternoon before. The fourth, Murray Hughes, was running in from the ruins of the old Carnegie Tech buildings, and Birdy Edwards sped up the main road from Shenley Park. Once or twice, as he ran, Murray Hughes paused, turned, and fired behind him.

Then his pursuers came into sight. They ran erect, and they wore a few rags of skin garments, and they carried spears and hatchets and clubs, so they were probably classifiable as men. Their hair was long and unkempt; their bodies were almost black with dirt and from the sun. A few of them were yelling; most of them ran silently. They ran more swiftly than the boy they were pursuing; the distance between them narrowed every moment. There were at least fifty of them.

Verner Hughes' rifle barked; one of them dropped. As coolly as though he were shooting squirrels instead of his son's pursuers, he dropped the butt of his rifle to the ground, poured a charge of powder, patched a ball and rammed it home, replaced the ramrod. Tenant Jones fired then, and then Birdy Edwards joined them and began shooting with the telescope-sighted hunting rifle. The young man who had been north of the Cathedral of Learning had one of the auto-carbines; Altamont had providently set the fire-control for semi-auto before giving it to him. He dropped to one knee and began to empty the clip, shooting slowly and deliberately, picking off the runners who were in the lead. The boy who had started to climb down off the library halted, fired his flintlock, and began reloading it. And Altamont, sitting down and propping his elbows on his knees, took both hands to the automatic which was his only weapon, emptying the magazine and replacing it. The last three of the savages he shot in the back; they had had enough and were running for their lives.

So far, everybody was safe. The boy in the library came down through a place where the wall had fallen. Murray Hughes stopped running and came slowly toward the bunker, putting a fresh clip into his rifle. The others came drifting in.

"Altamont, calling Loudons," the scientist from Fort Ridgeway was saying into the radio. "Monty to Jim; can you hear me, Jim?"

"We'd better get ready for another attack," Birdy Edwards said. "There's another gang coming from down that way. I never saw so many Scowrers!"

"Maybe there's a reason, Birdy," Tenant Jones said. "The Enemy is after big game, this time."

"Jim! Where the devil are you?" Altamont fairly yelled into the radio, and as he did, he knew the answer. Loudons was in the village, away from the helicopter, gathering tools and workers. Nothing to do but keep on trying.

Altamont straightened, saw the second band of savages approaching, about four hundred yards away.

The two auto-loading rifles began to crack. After a few shots, the savages took cover. Evidently they understood the capabilities and limitations of the villagers' flintlocks; this was a terrifying surprise to them.

"Those fellows you had up with you yesterday; think they could be trusted to handle the guns? A couple of them are here with me," Loudons inquired.

"Take a chance on it; it won't cost you anything but my life, and that's not worth much at present."

"Loudons is bringing the helicopter," he told the others. "All we have to do is hold on, here, till he comes."

A naked savage raised his head from behind what might, two hundred years ago, have been a cement park-bench, a hundred yards away. Reader Stamford Rawson promptly killed him and began reloading.

"I think you're right, Tenant," he said. "The Scowrers have never attacked in bands like this before. They must have had a powerful reason, and I can think of only one."

"That's what I'm beginning to think, too," Verner Hughes agreed. "At least, we have eliminated the third of your possibilities, Tenant. And I think probably the second, as well."

Altamont wondered what they were double-talking about. There wasn't any particular mystery about the mass attack of the wild men to him. Debased as they were, they still possessed speech and the ability to transmit experiences. No matter how beclouded in superstition, they still remembered that aircraft dropped bombs, and bombs killed people, and where people had been killed, they would find fresh meat. They had seen the helicopter circling about, and had heard the blasting; every one in the area had been drawn to the scene as soon as Loudons had gone down the river.

Maybe they had forgotten that aircraft also carried guns. At least, when they sprang to their feet and started to run at the return of the helicopter, many did not run far.

Altamont and Loudons shook hands many times in front of the Aitch-Cue House, and listened to many good wishes, and repeated their promise to return. Most of the microfilmed books were still stored in the old church; they were taking away with them only the catalogue and a few of the more important works. Finally, they entered the helicopter. The crowd shouted farewell, as they rose.

Altamont, at the controls, waited until they had gained five thousand feet, then turned on a compass-course for Colony Three.

"I can't wait till we're in radio-range of the Fort, to report this, Jim," he said. "Of all the wonderful luck! And I don't yet know which is more important; finding those books, or finding those people. In a few years, when we can get them supplied with modern equipment and instructed in its use—"

"I'm not very happy about it, Monty," Loudons confessed. "I keep thinking about what's going to happen to them."

"Why, nothing's going to happen to them. They're going to be given the means of producing more food, keeping more of them alive, having more leisure to develop themselves in—"

"It. One volume; a collection of works. We have it at the Fort; I've read it. How I ever missed all the clues—You see Monty, what I'm worried about is what's going to happen to those people when they find out that we're not really Sherlock Holmes and Dr. Watson."

THE END

*** END OF THE PROJECT GUTENBERG EBOOK THE RETURN ***

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

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.