Eveline Mandeville The Horse Thief Rival by Addison, Alvin - CHAPTER XXII.

(download Open eBook Format)

Eveline Mandeville The Horse Thief Rival

CHAPTER XXII.

THE DIS­GUISED VIL­LAINS MEET HADLEY--THE RE­SULT--CON­CLU­SION.

As al­ready stat­ed, Bill and Dick had dis­guised them­selves in the garb of gen­tle­men, and with cer­tain dis­fig­ure­ments of coun­te­nance which com­plete­ly hid their fea­tures and ren­dered it im­pos­si­ble to iden­ti­fy them, ei­ther in their char­ac­ter of vil­lain­ous mur­der­ers, or as the ab­duc­tors, on a for­mer oc­ca­sion, of their present cap­tive. When Bill first dis­cov­ered Eve­line in the woods, he was about to make known to her that he and Dick were the friends who had promised to lib­er­ate her, but on sec­ond thought he deemed it best to keep up the dis­guise, and learn, if pos­si­ble, whether she had any knowl­edge of his re­al in­ten­tions and their ul­ti­mate des­ti­na­tion. Hence her in­abil­ity to trace the voice, which sound­ed so fa­mil­iar, to the wily vil­lain who had en­ticed her to meet Hadley for the pur­pose of plac­ing her in Duf­fel's pow­er.

Bill en­deav­ored by ev­ery in­di­rect means, not cal­cu­lat­ed to ex­cite sus­pi­cion, to draw from Eve­line the facts of her sit­ua­tion, with the view of in­form­ing him­self of her sen­ti­ments to­ward the friends who had promised her free­dom; but she kept her own coun­sels, and com­plete­ly baf­fled him in his ob­ject. He knew that the present course of de­cep­tion could not long be per­sist­ed in, as, at fur­thest, on the mor­row a de­vel­op­ment of facts must take place, or, at least, a con­tin­ued per­sis­tence in the dis­guise as to des­ti­na­tion would be im­pos­si­ble. How to make him­self known in his re­al char­ac­ter was a mat­ter which puz­zled him not a lit­tle; for he well knew from her man­ners and from the re­sis­tance she had made to Duf­fel, that it would be no easy task to force her all the way to Vir­ginia. If he could on­ly man­age to keep up ap­pear­ances un­til a cer­tain point was gained, which he hoped to reach by night on the sec­ond day, he felt pret­ty sure of fi­nal suc­cess; for he would then be on a route along which friends were nu­mer­ous, and he knew where to stop for re­fresh­ments and at what places to put up for the night. But how to reach that point was the dif­fi­cul­ty.

Af­ter be­stow­ing much thought on the sub­ject, he at last hit up­on the plan which he con­clud­ed would en­able him to ac­com­plish his ends with­out be­ing mis­trust­ed by Eve­line. His plan was sim­ply this: To give Eve­line to un­der­stand that it would be im­pos­si­ble for them to reach C---- that day; and when, on the mor­row, it should ap­pear to be time for the ter­mi­na­tion of their jour­ney, he would, in seem­ing­ly well dis­guised un­easi­ness, in­form her that they were lost in the wilder­ness! and as the day wore away, that it might be pos­si­ble they would have to re­main in the for­est all night, if they did not hap­pen to stum­ble on some set­tle­ment or lone cab­in. In this way he could gain the time de­sired; and he well knew _what_ soli­tary cab­in he would reach at night!

Poor Eve­line was again in the toils of an en­emy, and it would seem now that noth­ing but death could re­lease her from the snare in which she had un­con­scious­ly fall­en. In her sit­ua­tion, “ig­no­rance was cer­tain­ly bliss;” for while the web of fate was weav­ing so sure­ly around her, she was think­ing of home and friends with joy at heart, that soon she would re­turn to the one and be greet­ed by the oth­ers. Alas! how lit­tle knew she of the dark pur­pos­es of the vile wretch­es who were con­fid­ed in as friends!

With­out lin­ger­ing to de­scribe the par­tic­ulars of the day and night, ex­cept to men­tion that the lat­ter was spent at a first class pub­lic house, and with­out the oc­cur­rence of any note wor­thy of in­ci­dent, we will sim­ply state that Bill, who let Dick in­to his se­cret, car­ried out his plans to the let­ter; and on the sec­ond day, about noon, com­mu­ni­cat­ed to Eve­line the un­wel­come and, to her, startling in­tel­li­gence that they had missed their way and were some­what be­wil­dered, but still hoped all would come out right. All the hor­rors of her for­mer night's ad­ven­ture in the wilder­ness came up in her mind, and she shud­dered at the thought that a rep­eti­tion of its dread­ful ex­pe­ri­ence might be be­fore her, but con­cealed her feel­ings as well as she could, though Bill saw that a sud­den pal­lor over­spread her face, and that she was re­al­ly alarmed.

Bill pro­duced a pock­et com­pass, and pre­tend­ed to take di­rec­tions and shape their course from it. To­ward evening, he an­nounced the fact, that he was quite con­fi­dent they were near a se­clud­ed dwelling oc­cu­pied by an old half-​her­mit sort of a fel­low and his fam­ily, which, though af­ford­ing but poor ac­com­mo­da­tions, would be prefer­able to the for­est as a shel­ter for the night. As pre­de­ter­mined by him, they reached this des­olate look­ing habi­ta­tion, and put up for the night. See­ing that Eve­line was ill at ease, he found means to whis­per in her ear:

“Do not be alarmed at ap­pear­ances; these peo­ple are rough, but hon­est; and in any emer­gen­cy, be as­sured we will de­fend you with our lives!”

But this whis­pered as­sur­ance of de­fense had the con­trary ef­fect from what was in­tend­ed, for Eve­line at once had her fears con­firmed that there _was_ dan­ger to be ap­pre­hend­ed. She did not, how­ev­er, man­ifest her in­creased ap­pre­hen­sions of evil, but seemed as calm as pos­si­ble un­til she was shown her sleep­ing apart­ment for the night, which was a room on the first floor, with a bolt to the rude door on the in­side. She fas­tened her­self in; but in­stead of sleep­ing, put out her light, and lis­tened with sharp­ened ears to ev­ery noise that dis­turbed the still­ness of the night. She had been in her room but a lit­tle while when she was star­tled by a call from with­out:

“Hal­loo, the house!”

She wait­ed a mo­ment, and then heard the own­er go to the door and de­mand:

“Who's there?”

“A be­night­ed trav­el­er, who has lost his way, and wish­es to ob­tain shel­ter for the night.”

“The house is al­ready full of guests, and I can­not take any more.”

“Let him in;” said Bill, whose voice Eve­line rec­og­nized. “He may be worth tak­ing in, you know.”

The man then called out:

“My guests think you can be ac­com­mo­dat­ed; so you may come in, I reck­on, and share such fare and lodg­ing as we can give, which are none the best.”

“If you will show me the way to the sta­ble, I will first see to my horse,” said the trav­el­er.

The host point­ed out a shed where the beast could stand, and soon the two re­turned to the house.

The mo­ment the new-​com­er en­tered the door, Bill and Dick cast in­quir­ing glances at each oth­er; pale­ness as of death was on their cheeks, and su­per­sti­tious alarm at their hearts; for in the stranger they be­held CHARLES HADLEY! Was it his ghost come to tor­ment them in the hour of their tri­umph and se­cu­ri­ty? Sev­er­al min­utes passed be­fore they could be as­sured of his iden­ti­ty, that he was ver­ita­bly flesh and blood, and not a spir­it. It was well for them that the ob­scure light of the room cast their fea­tures in shad­ow, or their blanched cheeks and dis­qui­et looks might have be­trayed them. In a very short time they found it con­ve­nient, as on a for­mer oc­ca­sion, when seek­ing the life of the same man, to go out to see af­ter their hors­es.

“Well, Dick!” said Bill, when they were alone, “What now?”

“D----n me, ef I didn't think the dead had come to life, when I first seen that feller! He must be bul­let proof, for I placed my pis­tol plumb ag'in' him when I fired. I'm half a mind to be­lieve yet that it's his ghost.”

“But it is not his ghost, that's cer­tain, though I could have sworn that he was dead; and we must get rid of him, some way, or he'll play the d----l with us.”

“I think the best thing we can do is, to leave the gal in his care, and cut stick for Vir­gin­ny as straight as we can shoot.”

“Non­sense! We can eas­ily get old Samp­son to kill him for his mon­ey, and that will save us from any fur­ther fear of his re­veal­ing our se­cret.”

“I don't like this biz­ness of killin'; 'taint hu­man, no way you can fix it.”

“Come, Dick, don't make a fool of your­self. I want you to stand by me now, like a man.”

“I shall have noth­ing to do with killin' Hadley; you may jist put a peg there, and say no more about it.”

“Well, let me alone, then, and don't in­ter­fere with my plans, and I'll do it my­self.”

“Ef it's to be done at all, bet­ter let old Samp­son do it. I'd a good deal rather his hands should be made red with Hadley's blood than mine. The truth is, Hadley is a first rate chap, and it's a mean, cow­ard­ly act to take his life.” “Come, come! no more of that sort of talk. If you don't want to help me, just let me alone; with old Samp­son's aid, I can get along with­out you; but I don't see what has come over you, of late.”

“Well, I ken soon tell you that I'm down on this wimen biz­ness, and allers have been; and it is mean, low, dirty work--this steel­in' poor things--any way you ken fix it, and I've told you so of­ten. I don't be­lieve any good will come of it in the end, ei­ther; ef I could have my way, there shouldn't, that's cer­tain. Ef you _will_ go ahead, why, go; but I tell you no good will come of it at last. I would be glad ef you would quit now; but I'll not stand in your way, be­coz I've agreed to stand by you al­ready.”

With this un­der­stand­ing, the ras­cals re­turned to the house--if house it could be called--and very soon af­ter­ward in­ti­mat­ed that they would re­tire.

“As the stranger seems very tired,” said Bill to the host, “we will will­ing­ly re­main un­til you show him his room,” and he gave the pro­pri­etor of the premis­es a know­ing wink.

As Hadley rose to fol­low the host, he thanked the men for their kind­ness, and Dick turned away to con­ceal his feel­ings, for he was re­al­ly sick at heart, bad as he was, at the thought that so no­ble a fel­low should fall a sac­ri­fice for such a base pur­pose; and he half re­solved to give him warn­ing of his dan­ger, and save his life. While his thoughts were thus oc­cu­pied, the host re­turned, and he and Bill very soon went out to­geth­er, Dick too well knew for what pur­pose.

“Ef I could on­ly let them out and get them off safe­ly, I'd do it,” mused Dick; “but there it is, I can't do it, and it's no use tryin'.”

But notwith­stand­ing he came to this hope­less con­clu­sion, he con­tin­ued to think about the mat­ter. At last he con­clud­ed:

“Well, ef I can't do any­thing else, I ken give the feller a friend­ly word of ad­vice, jist to kinder put him on his guard, like.”

So he stepped to the door of Hadley's room, and gen­tly tap­ping it un­til he gained the oc­cu­pant's at­ten­tion, whis­pered in his lis­ten­ing ear:

“There is dan­ger about, stranger, and ef you take the ad­vice of a friend, you'll not sleep over heavy to-​night. Bet­ter have your arms ready for any­thing that may hap­pen.”

“Thank you! my friend,” whis­pered Hadley, in re­sponse.

“No thanks, stranger; I'd help you more, if I could; but my hands are kinder tied like, and if they were free, sar­cum­stances would pre­vent me from givin' you any aid.”

Hav­ing thus com­pro­mised the mat­ter with his con­science, Dick walked away, re­solved to have noth­ing to do with the af­fair. In­deed, his sick­ness of the “wimen biz­ness” was hourly in­creas­ing, and he was half tempt­ed to leave Bill, un­less he would re­lin­quish Eve­line.

While these events were tran­spir­ing, Eve­line, wide awake and ex­cit­ed by fear, con­tin­ued to lis­ten to ev­ery sound with­out, re­main­ing per­fect­ly still her­self, so that the in­mates of the house sup­posed she was sleep­ing.

We will here re­mark, that the house was a dou­ble-​cab­in, with a kitchen at­tached to one of the ends, and a sleep­ing-​room to the oth­er. The fam­ily were in the kitchen, and Eve­line was in the room op­po­site to it on the same side, but at the oth­er end of the house. The part of the cab­in lead­ing to and from the kitchen, was in one large room; but the part lead­ing to and from Eve­line's room, was di­vid­ed in­to three apart­ments, two small sleep­ing-​rooms, and one large hall-​shaped one, ex­tend­ing the full length of the house, which was a kind of sit­ting-​room, and in­to it opened all three of the bed-​rooms, two at the side and one at the end. There was a rude cham­ber above these rooms, fur­nished with beds; for old Samp­son's was a ren­dezvous for thieves and pick­pock­ets, who of­ten as­sem­bled there in con­sid­er­able num­bers, ren­der­ing it nec­es­sary for him to have these var­ious ac­com­mo­da­tions for their ben­efit. Old Samp­son him­self was an out­law, and many a mur­der had been com­mit­ted in his house, and al­ways in the room oc­cu­pied by Hadley, with which there was a se­cret com­mu­ni­ca­tion, and be­neath it a vault for the re­cep­tion of the dead bod­ies of his vic­tims, un­til such time as they could be re­moved with­out de­tec­tion.

With this brief ex­pla­na­tion, we re­turn to the thread of the nar­ra­tive.

When Eve­line heard the voice of the stranger, she was struck with its pe­cu­liar­ity, but, as it was loud­er than she had been used to hear Hadley speak, she did not rec­og­nize it, and the few brief words she af­ter­ward heard him ut­ter, were too in­dis­tinct­ly heard by her to elic­it the truth. When, how­ev­er, she heard that well-​known voice thank­ing the men for their kind­ness, she rec­og­nized it in a mo­ment, and but for the fact that he was just re­tir­ing, she would have rushed out and thrown her­self in his arms.

Hadley had not long been gone, when she heard a low mur­mur­ing of voic­es back of her room, and noise­less­ly ap­proach­ing the side of her apart­ment near­est the speak­ers, she placed her ear to a crevice in the logs, and lis­tened.

“I don't want to go to ex­tremes un­less there is good rea­son to be­lieve he has con­sid­er­able mon­ey about him.”

These words, spo­ken by the host, were the first she heard dis­tinct­ly.

“I think there is no doubt on that point,” was the re­ply, “for to my cer­tain knowl­edge he has just in­her­it­ed an es­tate from a rich un­cle.”

“Has he in­deed? Then he may be worth pluck­ing. But can we re­ly on your com­pan­ion?”

“Oh yes; Dick is true as steel. He will not take an ac­tive part in the af­fair, be­cause he does not like my tak­ing the girl, on one side, and for the rea­son that Hadley has nev­er wronged him, on the oth­er, but he will be as far from be­tray­ing us as we our­selves; I will an­swer for him there.”

Dick! Hadley! In the quick­ness of the light­ning's flash, the whole truth beamed in­to Eve­line's soul. Her pre­tend­ed guides were none oth­er than Duf­fel's ac­com­plices, and the plot­ters, af­ter­ward, of her own de­struc­tion, and she was now on her way to that cave in Vir­ginia!

But the hor­rors of her own sit­ua­tion were lost sight of in con­tem­plat­ing the fate that was hang­ing over Hadley, who was to be killed for his mon­ey! As the light of these great truths broke in up­on her mind, she came very near scream­ing out in af­fright, but for­tu­nate­ly did not. She still lis­tened to see if she could learn how the dark deed of blood was to be con­sum­mat­ed, but the mode of dis­patch­ing vic­tims seemed to be un­der­stood by both and was on­ly al­lud­ed to and not ex­plained, and the vil­lains soon left the spot and re-​en­tered the house.

What a world of con­flict­ing emo­tions and thoughts now con­tend­ed in the bo­som of the long and deeply tried girl! She knew Hadley lived; but oh, what a fate hung over him! Could she save him? Alas! it seemed an im­pos­si­bil­ity. Should she make the ef­fort, it might on­ly has­ten the catas­tro­phe she would pre­vent. If she could on­ly put him on his guard; but that was out of her pow­er, for she could hear Dick walk­ing to and fro across the large room, and she be­lieved he was a sen­try on guard.

In this dilem­ma she sat down on the on­ly chair in the room, and leaned her head up­on her hand. She then found that her brow was cov­ered with large drops of cold per­spi­ra­tion, which the in­ten­si­ty of her feel­ings had forced out. What to do she knew not; and so she sat, in an agony of sus­pense, while the slow mo­ments passed away. At length she thought of her arms, which she still re­tained, and as she did so, re­solved to use them in case of emer­gen­cy, ei­ther for the preser­va­tion of her lover, or to pre­serve her­self from the fate in store for her if Hadley should be mur­dered and she car­ried off.

From the first, Hadley did not like the ap­pear­ance of things about the house, nor the looks of his host, who was not on­ly rough in fea­tures and man­ners, but car­ried with him a coun­te­nance with a very sin­is­ter ex­pres­sion up­on it, and an eye that spoke of crime and a guilty soul; but when Dick gave the warn­ing, he was dou­bly con­firmed in his first im­pres­sions, and re­solved to prof­it by the ad­vice so sin­gu­lar­ly vol­un­teered. He did not un­dress, but be­fore ex­tin­guish­ing his light ex­am­ined his pis­tols, a brace of which he had pro­cured for de­fense, to see that they were in prop­er or­der for im­me­di­ate use. Af­ter mak­ing all need­ful prepa­ra­tions, he put out his can­dle, and re­mained in per­fect qui­et. Soon he heard the two men re­turn, and then Dick went above to rest, and the oth­ers were left alone.

For a long time all was still; not a sound was heard; not a whis­per broke the pro­found si­lence; yet there were four pairs of sleep­less eyes in that house, whose own­ers were all with­in a few feet of each oth­er!

At length Hadley, who had tak­en a po­si­tion by the door, heard the soft­est tread of feet, then a sup­pressed breath­ing close by his ear, and he knew that some one was lis­ten­ing. He turned his face away that his own breath­ing might not be­tray him, and await­ed the re­sult of the oth­er's ob­ser­va­tion. It was but a lit­tle while till a low whis­pered con­ver­sa­tion fell up­on his at­ten­tive ear!

“Does he sleep?”

“Yes, ap­par­ent­ly very sound­ly.”

“Then the soon­er it is done the bet­ter.”

“Yes; bring me the lantern. Now when I go in, close the door and stand near, but do not open it till I call; I don't want the bird to es­cape.”

“All right. Be care­ful to make sure work of it.”

“Trust me for that; he'll nev­er know who struck him.”

Hadley knew the de­ci­sive mo­ment had come, and he pre­pared him­self for the cri­sis; but he felt that the odds was fear­ful­ly against him, and his hope of es­cape was small; still he was re­solved to make a des­per­ate ef­fort for his life.

As al­ready re­marked, the room was small, and the head of the bed came with­in a few feet of the door, so near, that by tak­ing one step, Hadley could touch it with his hand. Around the bed were long cur­tains reach­ing to the floor. It was but the work of a mo­ment for him to se­crete him­self be­hind these in such a po­si­tion as to face the mur­der­er when he turned to look af­ter him in the bed. He had just se­cured his sit­ua­tion when the door gen­tly opened, and the man of the house en­tered with the noise­less tread of a cat, bear­ing a dark lantern in one hand and a mon­strous knife in the oth­er. Stealthi­ly he ap­proached the bed, and then grad­ual­ly lift­ed the shade and threw the light around the room to be sure his vic­tim was not out on the watch; then he gen­tly part­ed the cur­tains and slow­ly brought the light to bear up­on the pil­lows.

Now! thought Hadley; and as the sur­prised as­sas­sin raised him­self up to take a clos­er scruti­ny of the po­si­tion in which he had ex­pect­ed to find his vic­tim, he lev­eled his pis­tol with­in two feet of his breast and fired! With a heavy groan the old man fell to the floor. Bill rushed in­to the room, and as he did so, Hadley fired his oth­er pis­tol, but the un­cer­tain light and Bill's rapid mo­tion caused the shot to be thrown away.

At the same in­stant a pierc­ing shriek from Eve­line's room told that she was alive to all that was pass­ing.

Bill im­me­di­ate­ly drew a pis­tol and fired at Hadley, but the lat­ter made a quick move­ment to one side and avoid­ed the bul­let. Then the two sprang at each oth­er and closed in for a life strug­gle.

It was man to man with them, but Bill had the ad­van­tage of much prac­tice, and his strength be­ing equal, his skill must fi­nal­ly gain him the vic­to­ry, un­less for­tune should great­ly fa­vor Hadley. Life was the prize at stake, and ev­ery nerve and mus­cle was taxed to its ut­most ca­pac­ity. At length they fell, Hadley be­ing up­per­most. The knife which had fall­en from old Samp­son's hand, lay with­in reach, and Hadley stretched forth his hand to grasp it, but as he did so, Bill, who was watch­ing his op­por­tu­ni­ty, by a sud­den and tremen­dous ef­fort, turned his an­tag­onist, and seiz­ing the knife, the mo­ment he felt his en­emy safe­ly be­neath him, raised it for the fa­tal plunge at his heart, and with an oath ex­claimed:

“Die, now, like a dog! and be out of my way!”

But the words were scarce­ly ut­tered, when his up­lift­ed hand re­laxed its grasp of the dead­ly weapon, and at the same pre­cise point of time, a flash and re­port told that a third par­ty had tak­en part in the dead­ly con­flict. Bill fell over up­on his dead com­pan­ion a corpse, and spring­ing to his feet, Hadley stood face to face with Eve­line! Each spoke the oth­er's name, fell in­to the oth­er's arms, and Eve­line faint­ed away! At this junc­ture Dick made his ap­pear­ance, and tak­ing in the whole scene at a glance, has­tened out and soon re­turned with a ves­sel of wa­ter. Hadley took a hand­ful of the flu­id and sprin­kled Eve­line's face, who soon re­vived.

We shall not at­tempt to de­scribe the joy of the trans­port­ed lovers. But the fam­ily had been aroused by the un­usu­al noise, and soon the wife and her two daugh­ters stood with the dead. In their hor­ror and dis­tress, Hadley and Eve­line for­got their hap­pi­ness.

There was no more sleep for the in­mates of that lone­ly dwelling that night, and with the ear­ly dawn, the lovers, guid­ed by Dick to a pub­lic road, left the scene of death and wretched­ness for home, where they ar­rived in safe­ty, the next evening, to the un­speak­able joy of Mr. Man­dev­ille, who had just re­turned from a fruit­less search af­ter his daugh­ter, in de­spair.

Dick went back and buried his dead com­pan­ion, and old Samp­son, af­ter do­ing which he left the coun­try, and was nev­er af­ter­ward heard of.

The League was nev­er re­vived in that sec­tion of the coun­try af­ter the de­struc­tion of the cave, though many of the mem­bers went to the south-​west to join their cap­tain, and the Or­der is still in ex­is­tence in a lit­tle dif­fer­ent form.

We have lit­tle more to add. Charles and Eve­line were mar­ried with the full and free ap­pro­ba­tion of Mr. Man­dev­ille, who ev­er af­ter loved Hadley as his own child, and ac­knowl­edged that for once the daugh­ter's was bet­ter than the FA­THER'S CHOICE, and of­ten shud­dered as he con­tem­plat­ed how nar­row­ly his beloved daugh­ter had es­caped be­com­ing the wife, first, and af­ter­ward, the vic­tim, of THE HORSE THIEF RI­VAL.

***END OF THE PROJECT GUTEN­BERG EBOOK EVE­LINE MAN­DEV­ILLE***

******* This file should be named 16676.txt or 16676.zip *******

This and all as­so­ci­at­ed files of var­ious for­mats will be found in: http://www.guten­berg.org/dirs/1/6/6/7/16676

Up­dat­ed edi­tions will re­place the pre­vi­ous one--the old edi­tions will be re­named.

Cre­at­ing the works from pub­lic do­main print edi­tions means that no one owns a Unit­ed States copy­right in these works, so the Foun­da­tion (and you!) can copy and dis­tribute it in the Unit­ed States with­out per­mis­sion and with­out pay­ing copy­right roy­al­ties. Spe­cial rules, set forth in the Gen­er­al Terms of Use part of this li­cense, ap­ply to copy­ing and dis­tribut­ing Project Guten­berg-​tm elec­tron­ic works to pro­tect the PROJECT GUTEN­BERG-​tm con­cept and trade­mark. Project Guten­berg is a reg­is­tered trade­mark, and may not be used if you charge for the eBooks, un­less you re­ceive spe­cif­ic per­mis­sion. If you do not charge any­thing for copies of this eBook, com­ply­ing with the rules is very easy. You may use this eBook for near­ly any pur­pose such as cre­ation of deriva­tive works, re­ports, per­for­mances and re­search. They may be mod­ified and print­ed and giv­en away--you may do prac­ti­cal­ly ANY­THING with pub­lic do­main eBooks. Re­dis­tri­bu­tion is sub­ject to the trade­mark li­cense, es­pe­cial­ly com­mer­cial re­dis­tri­bu­tion.

*** START: FULL LI­CENSE ***

THE FULL PROJECT GUTEN­BERG LI­CENSE PLEASE READ THIS BE­FORE YOU DIS­TRIBUTE OR USE THIS WORK

To pro­tect the Project Guten­berg-​tm mis­sion of pro­mot­ing the free dis­tri­bu­tion of elec­tron­ic works, by us­ing or dis­tribut­ing this work (or any oth­er work as­so­ci­at­ed in any way with the phrase “Project Guten­berg”), you agree to com­ply with all the terms of the Full Project Guten­berg-​tm Li­cense (avail­able with this file or on­line at http://guten­berg.net/li­cense).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

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

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

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

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 lo­cat­ed at 4557 Melan Dr. S. Fair­banks, AK, 99712., but its vol­un­teers and em­ploy­ees are scat­tered through­out nu­mer­ous lo­ca­tions. Its busi­ness of­fice is lo­cat­ed at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email busi­ness@pglaf.org. Email con­tact links and up to date con­tact in­for­ma­tion can be found at the Foun­da­tion's web site and of­fi­cial page at http://www.guten­berg.net/about/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 http://www.guten­berg.net/fundrais­ing/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 in­clud­ing checks, on­line pay­ments and cred­it card do­na­tions. To do­nate, please vis­it: http://www.guten­berg.net/fundrais­ing/do­nate

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

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

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

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

http://www.guten­berg.net

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.