Unborn Tomorrow
Date: 2007-12-20T00:00:00+00:00
Keywords: Science fiction; Short stories; Time travel -- Fiction

The Project Gutenberg eBook of Unborn Tomorrow

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Unborn Tomorrow

Author: Mack Reynolds

Illustrator: Kelly Freas

Release date: December 20, 2007 [eBook #23942]

Language: English

Other information and formats: www.gutenberg.org/ebooks/23942

Credits: Produced by Greg Weeks, Bruce Albrecht, Stephen Blundell
and the Online Distributed Proofreading Team at
http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK UNBORN TOMORROW ***

UNBORN
TOMORROW

BY MACK REYNOLDS

Unfortunately, there was only one thing he could bring back from the wonderful future ... and though he didn't want to ... nevertheless he did....

Illustrated by Freas

etty looked up from her magazine. She said mildly, "You're late."

"Don't yell at me, I feel awful," Simon told her. He sat down at his desk, passed his tongue over his teeth in distaste, groaned, fumbled in a drawer for the aspirin bottle.

He looked over at Betty and said, almost as though reciting, "What I need is a vacation."

"What," Betty said, "are you going to use for money?"

"Providence," Simon told her whilst fiddling with the aspirin bottle, "will provide."

"Hm-m-m. But before providing vacations it'd be nice if Providence turned up a missing jewel deal, say. Something where you could deduce that actually the ruby ring had gone down the drain and was caught in the elbow. Something that would net about fifty dollars."

Simon said, mournful of tone, "Fifty dollars? Why not make it five hundred?"

"I'm not selfish," Betty said. "All I want is enough to pay me this week's salary."

"Money," Simon said. "When you took this job you said it was the romance that appealed to you."

"Hm-m-m. I didn't know most sleuthing amounted to snooping around department stores to check on the clerks knocking down."

Simon said, enigmatically, "Now it comes."

There was a knock.

Betty bounced up with Olympic agility and had the door swinging wide before the knocking was quite completed.

He was old, little and had bug eyes behind pince-nez glasses. His suit was cut in the style of yesteryear but when a suit costs two or three hundred dollars you still retain caste whatever the styling.

Simon said unenthusiastically, "Good morning, Mr. Oyster." He indicated the client's chair. "Sit down, sir."

The client fussed himself with Betty's assistance into the seat, bug-eyed Simon, said finally, "You know my name, that's pretty good. Never saw you before in my life. Stop fussing with me, young lady. Your ad in the phone book says you'll investigate anything."

"Anything," Simon said. "Only one exception."

"Excellent. Do you believe in time travel?"

Simon said nothing. Across the room, where she had resumed her seat, Betty cleared her throat. When Simon continued to say nothing she ventured, "Time travel is impossible."

"Why?"

"Why?"

"Yes, why?"

Betty looked to her boss for assistance. None was forthcoming. There ought to be some very quick, positive, definite answer. She said, "Well, for one thing, paradox. Suppose you had a time machine and traveled back a hundred years or so and killed your own great-grandfather. Then how could you ever be born?"

"Confound it if I know," the little fellow growled. "How?"

Simon said, "Let's get to the point, what you wanted to see me about."

"I want to hire you to hunt me up some time travelers," the old boy said.

Betty was too far in now to maintain her proper role of silent secretary. "Time travelers," she said, not very intelligently.

The potential client sat more erect, obviously with intent to hold the floor for a time. He removed the pince-nez glasses and pointed them at Betty. He said, "Have you read much science fiction, Miss?"

"Some," Betty admitted.

"Then you'll realize that there are a dozen explanations of the paradoxes of time travel. Every writer in the field worth his salt has explained them away. But to get on. It's my contention that within a century or so man will have solved the problems of immortality and eternal youth, and it's also my suspicion that he will eventually be able to travel in time. So convinced am I of these possibilities that I am willing to gamble a portion of my fortune to investigate the presence in our era of such time travelers."

Simon seemed incapable of carrying the ball this morning, so Betty said, "But ... Mr. Oyster, if the future has developed time travel why don't we ever meet such travelers?"

Simon put in a word. "The usual explanation, Betty, is that they can't afford to allow the space-time continuum track to be altered. If, say, a time traveler returned to a period of twenty-five years ago and shot Hitler, then all subsequent history would be changed. In that case, the time traveler himself might never be born. They have to tread mighty carefully."

Mr. Oyster was pleased. "I didn't expect you to be so well informed on the subject, young man."

Simon shrugged and fumbled again with the aspirin bottle.

Mr. Oyster went on. "I've been considering the matter for some time and—"

Simon held up a hand. "There's no use prolonging this. As I understand it, you're an elderly gentleman with a considerable fortune and you realize that thus far nobody has succeeded in taking it with him."

Mr. Oyster returned his glasses to their perch, bug-eyed Simon, but then nodded.

Simon said, "You want to hire me to find a time traveler and in some manner or other—any manner will do—exhort from him the secret of eternal life and youth, which you figure the future will have discovered. You're willing to pony up a part of this fortune of yours, if I can deliver a bona fide time traveler."

"Right!"

Betty had been looking from one to the other. Now she said, plaintively, "But where are you going to find one of these characters—especially if they're interested in keeping hid?"

The old boy was the center again. "I told you I'd been considering it for some time. The Oktoberfest, that's where they'd be!" He seemed elated.

Betty and Simon waited.

"The Oktoberfest," he repeated. "The greatest festival the world has ever seen, the carnival, feria, fiesta to beat them all. Every year it's held in Munich. Makes the New Orleans Mardi gras look like a quilting party." He began to swing into the spirit of his description. "It originally started in celebration of the wedding of some local prince a century and a half ago and the Bavarians had such a bang-up time they've been holding it every year since. The Munich breweries do up a special beer, Marzenbräu they call it, and each brewery opens a tremendous tent on the fair grounds which will hold five thousand customers apiece. Millions of liters of beer are put away, hundreds of thousands of barbecued chickens, a small herd of oxen are roasted whole over spits, millions of pair of weisswurst, a very special sausage, millions upon millions of pretzels—"

"All right," Simon said. "We'll accept it. The Oktoberfest is one whale of a wingding."

"Well," the old boy pursued, into his subject now, "that's where they'd be, places like the Oktoberfest. For one thing, a time traveler wouldn't be conspicuous. At a festival like this somebody with a strange accent, or who didn't know exactly how to wear his clothes correctly, or was off the ordinary in any of a dozen other ways, wouldn't be noticed. You could be a four-armed space traveler from Mars, and you still wouldn't be conspicuous at the Oktoberfest. People would figure they had D.T.'s."

"But why would a time traveler want to go to a—" Betty began.

"Why not! What better opportunity to study a people than when they are in their cups? If you could go back a few thousand years, the things you would wish to see would be a Roman Triumph, perhaps the Rites of Dionysus, or one of Alexander's orgies. You wouldn't want to wander up and down the streets of, say, Athens while nothing was going on, particularly when you might be revealed as a suspicious character not being able to speak the language, not knowing how to wear the clothes and not familiar with the city's layout." He took a deep breath. "No ma'am, you'd have to stick to some great event, both for the sake of actual interest and for protection against being unmasked."

The old boy wound it up. "Well, that's the story. What are your rates? The Oktoberfest starts on Friday and continues for sixteen days. You can take the plane to Munich, spend a week there and—"

Simon was shaking his head. "Not interested."

As soon as Betty had got her jaw back into place, she glared unbelievingly at him.

Mr. Oyster was taken aback himself. "See here, young man, I realize this isn't an ordinary assignment, however, as I said, I am willing to risk a considerable portion of my fortune—"

"Sorry," Simon said. "Can't be done."

"A hundred dollars a day plus expenses," Mr. Oyster said quietly. "I like the fact that you already seem to have some interest and knowledge of the matter. I liked the way you knew my name when I walked in the door; my picture doesn't appear often in the papers."

"No go," Simon said, a sad quality in his voice.

"A fifty thousand dollar bonus if you bring me a time traveler."

"Out of the question," Simon said.

"But why?" Betty wailed.

"Just for laughs," Simon told the two of them sourly, "suppose I tell you a funny story. It goes like this:"

I got a thousand dollars from Mr. Oyster (Simon began) in the way of an advance, and leaving him with Betty who was making out a receipt, I hustled back to the apartment and packed a bag. Hell, I'd wanted a vacation anyway, this was a natural. On the way to Idlewild I stopped off at the Germany Information Offices for some tourist literature.

It takes roughly three and a half hours to get to Gander from Idlewild. I spent the time planning the fun I was going to have.

It takes roughly seven and a half hours from Gander to Shannon and I spent that time dreaming up material I could put into my reports to Mr. Oyster. I was going to have to give him some kind of report for his money. Time travel yet! What a laugh!

Between Shannon and Munich a faint suspicion began to simmer in my mind. These statistics I read on the Oktoberfest in the Munich tourist pamphlets. Five million people attended annually.

Where did five million people come from to attend an overgrown festival in comparatively remote Southern Germany? The tourist season is over before September 21st, first day of the gigantic beer bust. Nor could the Germans account for any such number. Munich itself has a population of less than a million, counting children.

And those millions of gallons of beer, the hundreds of thousands of chickens, the herds of oxen. Who ponied up all the money for such expenditures? How could the average German, with his twenty-five dollars a week salary?

In Munich there was no hotel space available. I went to the Bahnhof where they have a hotel service and applied. They put my name down, pocketed the husky bribe, showed me where I could check my bag, told me they'd do what they could, and to report back in a few hours.

I had another suspicious twinge. If five million people attended this beer bout, how were they accommodated?

The Theresienwiese, the fair ground, was only a few blocks away. I was stiff from the plane ride so I walked.

There are seven major brewers in the Munich area, each of them represented by one of the circuslike tents that Mr. Oyster mentioned. Each tent contained benches and tables for about five thousand persons and from six to ten thousands pack themselves in, competing for room. In the center is a tremendous bandstand, the musicians all lederhosen clad, the music as Bavarian as any to be found in a Bavarian beer hall. Hundreds of peasant garbed fräuleins darted about the tables with quart sized earthenware mugs, platters of chicken, sausage, kraut and pretzels.

I found a place finally at a table which had space for twenty-odd beer bibbers. Odd is right. As weird an assortment of Germans and foreign tourists as could have been dreamed up, ranging from a seventy- or eighty-year-old couple in Bavarian costume, to the bald-headed drunk across the table from me.

A desperate waitress bearing six mugs of beer in each hand scurried past. They call them masses, by the way, not mugs. The bald-headed character and I both held up a finger and she slid two of the masses over to us and then hustled on.

"Down the hatch," the other said, holding up his mass in toast.

"To the ladies," I told him. Before sipping, I said, "You know, the tourist pamphlets say this stuff is eighteen per cent. That's nonsense. No beer is that strong." I took a long pull.

He looked at me, waiting.

I came up. "Mistaken," I admitted.

A mass or two apiece later he looked carefully at the name engraved on his earthenware mug. "Löwenbräu," he said. He took a small notebook from his pocket and a pencil, noted down the word and returned the things.

"That's a queer looking pencil you have there," I told him. "German?"

"Venusian," he said. "Oops, sorry. Shouldn't have said that."

I had never heard of the brand so I skipped it.

"Next is the Hofbräu," he said.

"Next what?" Baldy's conversation didn't seem to hang together very well.

"My pilgrimage," he told me. "All my life I've been wanting to go back to an Oktoberfest and sample every one of the seven brands of the best beer the world has ever known. I'm only as far as Löwenbräu. I'm afraid I'll never make it."

I finished my mass. "I'll help you," I told him. "Very noble endeavor. Name is Simon."

"Arth," he said. "How could you help?"

"I'm still fresh—comparatively. I'll navigate you around. There are seven beer tents. How many have you got through, so far?"

"Two, counting this one," Arth said.

I looked at him. "It's going to be a chore," I said. "You've already got a nice edge on."

Outside, as we made our way to the next tent, the fair looked like every big State-Fair ever seen, except it was bigger. Games, souvenir stands, sausage stands, rides, side shows, and people, people, people.

The Hofbräu tent was as overflowing as the last but we managed to find two seats.

The band was blaring, and five thousand half-swacked voices were roaring accompaniment.

In Muenchen steht ein Hofbräuhaus!
Eins, Zwei, G'sufa!

At the G'sufa everybody upped with the mugs and drank each other's health.

"This is what I call a real beer bust," I said approvingly.

Arth was waving to a waitress. As in the Löwenbräu tent, a full quart was the smallest amount obtainable.

A beer later I said, "I don't know if you'll make it or not, Arth."

"Make what?"

"All seven tents."

"Oh."

A waitress was on her way by, mugs foaming over their rims. I gestured to her for refills.

"Where are you from, Arth?" I asked him, in the way of making conversation.

"2183."

"2183 where?"

He looked at me, closing one eye to focus better. "Oh," he said. "Well, 2183 South Street, ah, New Albuquerque."

"New Albuquerque? Where's that?"

Arth thought about it. Took another long pull at the beer. "Right across the way from old Albuquerque," he said finally. "Maybe we ought to be getting on to the Pschorrbräu tent."

"Maybe we ought to eat something first," I said. "I'm beginning to feel this. We could get some of that barbecued ox."

Arth closed his eyes in pain. "Vegetarian," he said. "Couldn't possibly eat meat. Barbarous. Ugh."

"Well, we need some nourishment," I said.

"There's supposed to be considerable nourishment in beer."

That made sense. I yelled, "Fräulein! Zwei neu bier!"

Somewhere along in here the fog rolled in. When it rolled out again, I found myself closing one eye the better to read the lettering on my earthenware mug. It read Augustinerbräu. Somehow we'd evidently navigated from one tent to another.

Arth was saying, "Where's your hotel?"

That seemed like a good question. I thought about it for a while. Finally I said, "Haven't got one. Town's jam packed. Left my bag at the Bahnhof. I don't think we'll ever make it, Arth. How many we got to go?"

"Lost track," Arth said. "You can come home with me."

We drank to that and the fog rolled in again.

When the fog rolled out, it was daylight. Bright, glaring, awful daylight. I was sprawled, complete with clothes, on one of twin beds. On the other bed, also completely clothed, was Arth.

That sun was too much. I stumbled up from the bed, staggered to the window and fumbled around for a blind or curtain. There was none.

Behind me a voice said in horror, "Who ... how ... oh, Wodo, where'd you come from?"

I got a quick impression, looking out the window, that the Germans were certainly the most modern, futuristic people in the world. But I couldn't stand the light. "Where's the shade," I moaned.

Arth did something and the window went opaque.

"That's quite a gadget," I groaned. "If I didn't feel so lousy, I'd appreciate it."

Arth was sitting on the edge of the bed holding his bald head in his hands. "I remember now," he sorrowed. "You didn't have a hotel. What a stupidity. I'll be phased. Phased all the way down."

"You haven't got a handful of aspirin, have you?" I asked him.

"Just a minute," Arth said, staggering erect and heading for what undoubtedly was a bathroom. "Stay where you are. Don't move. Don't touch anything."

"All right," I told him plaintively. "I'm clean. I won't mess up the place. All I've got is a hangover, not lice."

Arth was gone. He came back in two or three minutes, box of pills in hand. "Here, take one of these."

I took the pill, followed it with a glass of water.

And went out like a light.

Arth was shaking my arm. "Want another mass?"

The band was blaring, and five thousand half-swacked voices were roaring accompaniment.

In Muenchen steht ein Hofbräuhaus!
Eins, Zwei, G'sufa!

At the G'sufa everybody upped with their king-size mugs and drank each other's health.

My head was killing me. "This is where I came in, or something," I groaned.

Arth said, "That was last night." He looked at me over the rim of his beer mug.

Something, somewhere, was wrong. But I didn't care. I finished my mass and then remembered. "I've got to get my bag. Oh, my head. Where did we spend last night?"

Arth said, and his voice sounded cautious, "At my hotel, don't you remember?"

"Not very well," I admitted. "I feel lousy. I must have dimmed out. I've got to go to the Bahnhof and get my luggage."

Arth didn't put up an argument on that. We said good-by and I could feel him watching after me as I pushed through the tables on the way out.

At the Bahnhof they could do me no good. There were no hotel rooms available in Munich. The head was getting worse by the minute. The fact that they'd somehow managed to lose my bag didn't help. I worked on that project for at least a couple of hours. Not only wasn't the bag at the luggage checking station, but the attendant there evidently couldn't make heads nor tails of the check receipt. He didn't speak English and my high school German was inadequate, especially accompanied by a blockbusting hangover.

I didn't get anywhere tearing my hair and complaining from one end of the Bahnhof to the other. I drew a blank on the bag.

And the head was getting worse by the minute. I was bleeding to death through the eyes and instead of butterflies I had bats in my stomach. Believe me, nobody should drink a gallon or more of Marzenbräu.

I decided the hell with it. I took a cab to the airport, presented my return ticket, told them I wanted to leave on the first obtainable plane to New York. I'd spent two days at the Oktoberfest, and I'd had it.

I got more guff there. Something was wrong with the ticket, wrong date or some such. But they fixed that up. I never was clear on what was fouled up, some clerk's error, evidently.

The trip back was as uninteresting as the one over. As the hangover began to wear off—a little—I was almost sorry I hadn't been able to stay. If I'd only been able to get a room I would have stayed, I told myself.

From Idlewild, I came directly to the office rather than going to my apartment. I figured I might as well check in with Betty.

I opened the door and there I found Mr. Oyster sitting in the chair he had been occupying four—or was it five—days before when I'd left. I'd lost track of the time.

I said to him, "Glad you're here, sir. I can report. Ah, what was it you came for? Impatient to hear if I'd had any results?" My mind was spinning like a whirling dervish in a revolving door. I'd spent a wad of his money and had nothing I could think of to show for it; nothing but the last stages of a grand-daddy hangover.

"Came for?" Mr. Oyster snorted. "I'm merely waiting for your girl to make out my receipt. I thought you had already left."

"You'll miss your plane," Betty said.

There was suddenly a double dip of ice cream in my stomach. I walked over to my desk and looked down at the calendar.

Mr. Oyster was saying something to the effect that if I didn't leave today, it would have to be tomorrow, that he hadn't ponied up that thousand dollars advance for anything less than immediate service. Stuffing his receipt in his wallet, he fussed his way out the door.

I said to Betty hopefully, "I suppose you haven't changed this calendar since I left."

Betty said, "What's the matter with you? You look funny. How did your clothes get so mussed? You tore the top sheet off that calendar yourself, not half an hour ago, just before this marble-missing client came in." She added, irrelevantly, "Time travelers yet."

I tried just once more. "Uh, when did you first see this Mr. Oyster?"

"Never saw him before in my life," she said. "Not until he came in this morning."

"This morning," I said weakly.

While Betty stared at me as though it was me that needed candling by a head shrinker preparatory to being sent off to a pressure cooker, I fished in my pocket for my wallet, counted the contents and winced at the pathetic remains of the thousand. I said pleadingly, "Betty, listen, how long ago did I go out that door—on the way to the airport?"

"You've been acting sick all morning. You went out that door about ten minutes ago, were gone about three minutes, and then came back."

"See here," Mr. Oyster said (interrupting Simon's story), "did you say this was supposed to be amusing, young man? I don't find it so. In fact, I believe I am being ridiculed."

Simon shrugged, put one hand to his forehead and said, "That's only the first chapter. There are two more."

"I'm not interested in more," Mr. Oyster said. "I suppose your point was to show me how ridiculous the whole idea actually is. Very well, you've done it. Confound it. However, I suppose your time, even when spent in this manner, has some value. Here is fifty dollars. And good day, sir!"

He slammed the door after him as he left.

Simon winced at the noise, took the aspirin bottle from its drawer, took two, washed them down with water from the desk carafe.

Betty looked at him admiringly. Came to her feet, crossed over and took up the fifty dollars. "Week's wages," she said. "I suppose that's one way of taking care of a crackpot. But I'm surprised you didn't take his money and enjoy that vacation you've been yearning about."

"I did," Simon groaned. "Three times."

Betty stared at him. "You mean—"

Simon nodded, miserably.

She said, "But Simon. Fifty thousand dollars bonus. If that story was true, you should have gone back again to Munich. If there was one time traveler, there might have been—"

"I keep telling you," Simon said bitterly, "I went back there three times. There were hundreds of them. Probably thousands." He took a deep breath. "Listen, we're just going to have to forget about it. They're not going to stand for the space-time continuum track being altered. If something comes up that looks like it might result in the track being changed, they set you right back at the beginning and let things start—for you—all over again. They just can't allow anything to come back from the future and change the past."

"You mean," Betty was suddenly furious at him, "you've given up! Why this is the biggest thing— Why the fifty thousand dollars is nothing. The future! Just think!"

Simon said wearily, "There's just one thing you can bring back with you from the future, a hangover compounded of a gallon or so of Marzenbräu. What's more you can pile one on top of the other, and another on top of that!"

He shuddered. "If you think I'm going to take another crack at this merry-go-round and pile a fourth hangover on the three I'm already nursing, all at once, you can think again."

THE END

Transcriber's Note:
This etext was produced from Astounding Science Fiction June 1959. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

*** END OF THE PROJECT GUTENBERG EBOOK UNBORN TOMORROW ***

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

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

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg

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

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.

Table of Contents

- UNBORN TOMORROW

- THE FULL PROJECT GUTENBERG™ LICENSE