The Project Gutenberg eBook of King of the Hill, by James Blish

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 https://www.gutenberg.org/license. If you are not located in the United States, you’ll have to check the laws of the country where you are located before using this eBook.

Title: King of the Hill

Author: James Blish

Release Date: February 4, 2022 [EBook #67317]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK ***

KING OF THE HILL

by JAMES BLISH

Illustrated by GRIFFITH

A madman can be prevented from

bomb-throwing—but a mad world?

[Transcriber's Note: This etext was produced from

Infinity Science Fiction, November 1955.

Extensive research did not uncover any evidence that

the U.S. copyright on this publication was renewed.]

It did Col. Hal Gascoigne no good whatsoever to know that he was the only man aboard Satellite Vehicle 1. No good at all. He had stopped reminding himself of the fact some time back.

And now, as he sat sweating in the perfectly balanced air in front of the bombardier board, one of the men spoke to him again:

"Colonel, sir—"

Gascoigne swung around in the seat, and the sergeant—Gascoigne could almost remember the man's name—threw him a snappy Air Force salute.

"Well?"

"Bomb one is primed, sir. Your orders?"

"My orders?" Gascoigne said wonderingly. But the man was already gone. Gascoigne couldn't actually see the sergeant leave the control cabin, but he was no longer in it.

While he tried to remember, another voice rang in the cabin, as flat and razzy as all voices sound on an intercom.

"Radar room. On target."

A regular, meaningless peeping. The timing circuit had cut in.

Or had it? There was nobody in the radar room. There was nobody in the bomb hold, either. There had never been anybody on board SV-1 but Gascoigne, not since he had relieved Grinnell—and Grinnell had flown the station up here in the first place.

Then who had that sergeant been? His name was—It was—

The hammering of the teletype blanked it out. The noise was as loud as a pom-pom in the echoing metal cave. He got up and coasted across the deck to the machine, gliding in the gravity-free cabin with the ease of a man to whom free fall is almost second nature.

The teletype was silent by the time he reached it, and at first the tape looked blank. He wiped the sweat out of his eyes. There was the message.

MNBVCXZ LKJ HGFDS PYTR AOIU EUIO QPALZM

He got out his copy of "The Well-Tempered Pogo" and checked the speeches of Grundoon the Beaver-Chile for the key letter-sequence on which the code was based. There weren't very many choices. He had the clear in ten minutes.

BOMB ONE WASHINGTON 1700 HRS TAMMANANY

There it was. That was what he had been priming the bomb for. But there should have been earlier orders, giving him the go-ahead to prime. He began to rewind the paper.

It was all blank.

And—Washington? Why would the Joint Chiefs of Staff order him—

"Col. Gascoigne, sir—"

Gascoigne jerked around and returned the salute. "What's your name?" he snapped.

"Sweeney, sir," the corporal said. Actually it didn't sound very much like Sweeney, or like anything else; it was just a noise. Yet the man's face looked familiar. "Ready with bomb two, sir."

The corporal saluted, turned, took two steps, and faded. He did not vanish, but he did not go out the door, either. He simply receded, became darker and harder to distinguish, and was no longer there. It was as though he and Gascoigne had disagreed about the effects of perspective in the glowing Earthlight, and Gascoigne had turned out to be wrong.

Numbly, he finished rewinding the paper. There was no doubt about it. There the order stood, black on yellow, as plain as plain. Bomb the capital of your own country at 1700 hours. Just incidentally, bomb your own home in the process, but don't give that a second thought. Be thorough, drop two bombs; don't worry about missing by a few seconds of arc and hitting Baltimore instead, or Silver Spring, or Milford, Del. CIG will give you the coordinates, but plaster the area anyhow. That's S.O.P.

With rubbery fingers, Gascoigne began to work the keys of the teletype. Sending on the frequency of Civilian Intelligence Group, he typed:

HELP SHOUT SERIOUS REPEAT SERIOUS PERSONNEL TROUBLE HERE STOP DON'T KNOW HOW LONG I CAN KEEP IT DOWN STOP URGENT GASCOIGNE SV ONE STOP

Behind him, the oscillator peeped rhythmically, timing the drive on the launching rack trunnion.

"Radar room. On target."

Gascoigne did not turn. He sat before the bombardier board and sweated in the perfectly balanced air. Inside his skull, his own voice was shouting:

STOP STOP STOP

That, as we reconstructed it afterwards, is how the SV-1 affair began. It was pure luck, I suppose, that Gascoigne sent his message direct to us. Civilian Intelligence Group is rarely called into an emergency when the emergency is just being born. Usually Washington tries to do the bailing job first. Then, when Washington discovers that the boat is still sinking, it passes the bailing can to us—usually with a demand that we transform it into a centrifugal pump, on the double.

We don't mind. Washington's failure to develop a government department similar in function to CIG is the reason why we're in business. The profits, of course, go to Affiliated Enterprises, Inc., the loose corporation of universities and industries which put up the money to build ULTIMAC—and ULTIMAC is, in turn, the reason why Washington comes running to CIG so often.

This time, however, it did not look like the big computer was going to be of much use to us. I said as much to Joan Hadamard, our social sciences division chief, when I handed her the message.

"Um," she said. "Personnel trouble? What does he mean? He hasn't got any personnel on that station."

This was no news to me. CIG provided the figures that got the SV-1 into its orbit in the first place, and it was on our advice that it carried only one man. The crew of a space vessel either has to be large or it has to be a lone man; there is no intermediate choice. And SV-1 wasn't big enough to carry a large crew—not to carry them and keep the men from flying at each other's throats sooner or later, that is.

"He means himself," I said. "That's why I don't think this is a job for the computer. It's going to have to be played person-to-person. It's my bet that the man's responsibility-happy; that danger was always implicit in the one-man recommendation."

"The only decent solution is a full complement," Joan agreed. "Once the Pentagon can get enough money from Congress to build a big station."

"What puzzles me is, why did he call us instead of his superiors?"

"That's easy. We process his figures. He trusts us. The Pentagon thinks we're infallible, and he's caught the disease from them."

"That's bad," I said.

"I've never denied it."

"No, what I mean is that it's bad that he called us instead of going through channels. It means that the emergency is at least as bad as he says it is."

I thought about it another precious moment longer while Joan did some quick dialing. As everybody on Earth—with the possible exception of a few Tibetans—already knew, the man who rode SV-1 rode with three hydrogen bombs immediately under his feet—bombs which he could drop with great precision on any spot on the Earth. Gascoigne was, in effect, the sum total of American foreign policy; he might as well have had "Spatial Supremacy" stamped on his forehead.

"What does the Air Force say?" I asked Joan as she hung up.

"They say they're a little worried about Gascoigne. He's a very stable man, but they had to let him run a month over his normal replacement time—why, they don't explain. He's been turning in badly garbled reports over the last week. They're thinking about giving him a dressing down."

"Thinking! They'd better be careful with that stuff, or they'll hurt themselves. Joan, somebody's going to have to go up there. I'll arrange fast transportation, and tell Gascoigne that help is coming. Who should go?"

"I don't have a recommendation," Joan said. "Better ask the computer."

I did so—on the double.

ULTIMAC said: Harris.

"Good luck, Peter," Joan said calmly. Too calmly.

"Yeah," I said. "Or good night."

Exactly what I expected to happen as the ferry rocket approached SV-1, I don't now recall. I had decided that I couldn't carry a squad with me. If Gascoigne was really far gone, he wouldn't allow a group of men to disembark; one man, on the other hand, he might pass. But I suppose I did expect him to put up an argument first.

Nothing happened. He did not challenge the ferry, and he didn't answer hails. Contact with the station was made through the radar automatics, and I was put off on board as routinely as though I was being let into a movie—but a lot more rapidly.

The control room was dark and confusing, and at first I didn't see Gascoigne anywhere. The Earthlight coming through the observation port was brilliant, but beyond the edges of its path the darkness was almost absolute, broken only by the little stars of indicator lenses.

A faint snicking sound turned my eyes in the right direction. There was Gascoigne. He was hunched over the bombardier board, his back to me. In one hand he held a small tool resembling a ticket-punch. Its jaws were nibbling steadily at a taut line of tape running between two spools; that had been the sound I'd heard. I recognized the device without any trouble; it was a programmer.

But why hadn't Gascoigne heard me come in? I hadn't tried to sneak up on him, there is no quiet way to come through an airlock anyway. But the punch went on snicking steadily.

"Col. Gascoigne," I said. There was no answer. I took a step forward. "Col. Gascoigne, I'm Harris of CIG. What are you doing?"

The additional step did the trick. "Stay away from me," Gascoigne growled, from somewhere way down in his chest. "I'm programming the bomb. Punching in the orders myself. Can't depend on my crew. Stay away."

"Give over for a minute, I want to talk to you."

"That's a new one," said Gascoigne, not moving. "Most of you guys were rushing to set up launchings before you even reported to me. Who the hell are you, anyhow? There's nobody on board, I know that well enough."

"I'm Peter Harris," I said. "From CIG—you called us, remember? You asked us to send help."

"Doesn't prove a thing. Tell me something I don't know. Then maybe I'll believe you exist. Otherwise—beat it."

"Nothing doing. Put down that punch."

Gascoigne straightened slowly and turned to look at me. "Well, you don't vanish, I'll give you that," he said. "What did you say your name was?"

"Harris. Here's my ID card."

Gascoigne took the plastic-coated card tentatively, and then removed his glasses and polished them. The gesture itself was perfectly ordinary, and wouldn't have surprised me—except that Gascoigne was not wearing glasses.

"It's hard to see in here," he complained. "Everything gets so steamed up. Hm. All right, you're real. What do you want?"

His finger touched a journal. Silently, the tape began to roll from one spool to another.

"Gascoigne, stop that thing. If you drop any bombs there'll be hell to pay. It's tense enough down below as it is. And there's no reason to bomb anybody."

"Plenty of reason," Gascoigne muttered. He turned toward the teletype, exposing to me for the first time a hip holster cradling a large, black automatic. I didn't doubt that he could draw it with fabulous rapidity, and put the bullets just where he wanted them to go. "I've got orders. There they are. See for yourself."

Cautiously, I sidled over to the teletype and looked. Except for Gascoigne's own message to CIG, and one from Joan Hadamard announcing that I was on my way, the paper was totally blank. There had been no other messages that day unless Gascoigne had changed the roll, and there was no reason why he should have. Those rolls last close to forever.

"When did this order come in?"

"This morning some time. I don't know. Sweeney!" he bawled suddenly, so loud that the paper tore in my hands. "When did that drop order come through?"

Nobody answered. But Gascoigne said almost at once, "There, you heard him."

"I didn't hear anything but you," I said, "and I'm going to stop that tape. Stand aside."

"Not a chance, Mister," Gascoigne said grimly. "The tape rides."

"Who's getting hit?"

"Washington," Gascoigne said, and passed his hand over his face. He appeared to have forgotten the imaginary spectacles.

"That's where your home is, isn't it?"

"It sure is," Gascoigne said. "It sure as hell is, Mister. Cute, isn't it?"

It was cute, all right. The Air Force boys at the Pentagon were going to be given about ten milliseconds to be sorry they'd refused to send a replacement for Gascoigne along with me. Replace him with who? We can't send his second alternate in anything short of a week. The man has to have retraining, and the first alternate's in the hospital with a ruptured spleen. Besides, Gascoigne's the best man for the job; he's got to be bailed out somehow.

Sure. With a psychological centrifugal pump, no doubt. In the meantime the tape kept right on running.

"You might as well stop wiping your face, and turn down the humidity instead," I said. "You've already smudged your glasses again."

"Glasses?" Gascoigne muttered. He moved slowly across the cabin, sailing upright like a sea-horse, to the blank glass of a closed port. I seriously doubted that he could see his reflection in it, but maybe he didn't really want to see it. "I messed them up, all right. Thanks." He went through the polishing routine again.

A man who thinks he is wearing glasses also thinks he can't see without them. I slid to the programmer and turned off the tape. I was between the spools and Gascoigne now—but I couldn't stay there forever.

"Let's talk a minute, Colonel," I said. "Surely it can't do any harm."

Gascoigne smiled, with a sort of childish craft. "I'll talk," he said. "Just as soon as you start that tape again. I was watching you in the mirror, before I took my glasses off."

The liar. I hadn't made a move while he'd been looking into that porthole. His poor pitiful weak old rheumy eyes had seen every move I made while he was polishing his "glasses." I shrugged and stepped away from the programmer.

"You start it," I said. "I won't take the responsibility."

"It's orders," Gascoigne said woodenly. He started the tape running again. "It's their responsibility. What did you want to talk to me about, anyhow?"

"Col. Gascoigne, have you ever killed anybody?"

He looked startled. "Yes, once I did," he said, almost eagerly. "I crashed a plane into a house. Killed the whole family. Walked away with nothing worse than a burned leg—good as new after a couple of muscle stabilizations. That's what made me shift from piloting to weapons; that leg's not quite good enough to fly with any more."

"Tough."

He snickered suddenly, explosively. "And now look at me," he said. "I'm going to kill my own family in a little while. And millions of other people. Maybe the whole world."

How long was "a little while"?

"What have you got against it?" I said.

"Against what—the world? Nothing. Not a damn thing. Look at me: I'm king of the hill up here. I can't complain."

He paused and licked his lips. "It was different when I was a kid," he said. "Not so dull, then. In those days you could get a real newspaper, that you could unfold for the first time yourself, and pick out what you wanted to read. Not like now, when the news comes to you predigested on a piece of paper out of your radio. That's what's the matter with it, if you ask me."

"What's the matter with what?"

"With the news—that's why it's always bad these days. Everything's had something done to it. The milk is homogenized, the bread is sliced, the cars steer themselves, the phonographs will produce sounds no musical instrument could make. Too much meddling, too many people who can't keep their hands off things. Ever fire a kiln?"

"Me?" I said, startled.

"No, I didn't think so. Nobody makes pottery these days. Not by hand. And if they did, who'd buy it? They don't want something that's been made. They want something that's been Done To."

The tape kept on traveling. Down below, there was a heavy rumble, difficult to identify specifically: something heavy being shifted on tracks, or maybe a freight lock opening.

"So now you're going to Do Something to the Earth," I said slowly.

"Not me. It's orders."

"Orders from inside, Col. Gascoigne. There's nothing on the spools." What else could I do? I didn't have time to take him through two years of psychoanalysis and bring him to his own insight. Besides, I'm not licensed to practice medicine—not on Earth. "I didn't want to say so, but I have to now."

"Say what?" Gascoigne said suspiciously. "That I'm crazy or something?"

"No. I didn't say that. You did," I pointed out. "But I will tell you that that stuff about not liking the world these days is baloney. Or rationalization, if you want a nicer word. You're carrying a screaming load of guilt, Colonel, whether you're aware of it or not."

"I don't know what you're talking about. Why don't you just beat it?"

"No. And you know well enough. You fell all over yourself to tell me about the family you killed in your flying accident." I gave him ten seconds of silence, and then shot the question at him as hard as I could. "What was their name?"

"How do I know? Sweeney or something. Anything. I don't remember."

"Sure you do. Do you think that killing your own family is going to bring the Sweeneys back to life?"

Gascoigne's mouth twisted, but he seemed to be entirely unaware of the grimace. "That's all hogwash," he said. "I never did hold with that psychological claptrap. It's you that's handing out the baloney, not me."

"Then why are you being so vituperative about it? Hogwash, claptrap, baloney—you are working awfully hard to knock it down, for a man who doesn't believe in it."

"Go away," he said sullenly. "I've got my orders. I'm obeying them."

Stalemate. But there was no such thing as stalemate up here. Defeat was the word.

The tape traveled. I did not know what to do. The last bomb problem CIG had tackled had been one we had set up ourselves; we had arranged for a dud to be dropped in New York harbor, to test our own facilities for speed in determining the nature of the missile. The situation on board SV-1 was completely different—

Whoa. Was it? Maybe I'd hit something there.

"Col. Gascoigne," I said slowly, "you might as well know now that it isn't going to work. Not even if you do get that bomb off."

"Yes, I can. What's to stop me?" He hooked one thumb in his belt, just above the holster, so that his fingertips rested on the breech of the automatic.

"Your bombs. They aren't alive."

Gascoigne laughed harshly and waved at the controls. "Tell that to the counter in the bomb hold. Go ahead. There's a meter you can read, right there on the bombardier board."

"Sure," I said. "The bombs are radioactive, all right. Have you ever checked their half-life?"

It was a long shot. Gascoigne was a weapons man; if it were possible to check half-life on board the SV-1, he would have checked it. But I didn't think it was possible.

"What would I do that for?"

"You wouldn't, being a loyal airman. You believe what your superiors tell you. But I'm a civilian, Colonel. There's no element in those bombs that will either fuse or fission. The half-life is too long for tritium or for lithium^6, and it's too short for uranium^235 or radio-thorium. The stuff is probably strontium^90—in short, nothing but a bluff."

"By the time I finished checking that," Gascoigne said, "the bomb would be launched anyhow. And you haven't checked it, either. Try another tack."

"I don't need to. You don't have to believe me. We'll just sit here and wait for the bomb drop, and then the point will prove itself. After that, of course, you'll be court-martialed for firing a wild shot without orders. But since you're prepared to wipe out your own family, you won't mind a little thing like twenty years in the guardhouse."

Gascoigne looked at the silently rolling tape. "Sure," he said. "I've got the orders, anyhow. The same thing would happen if I didn't obey them. If nobody gets hurt, so much the better."

A sudden spasm of emotion—I took it to be grief, but I could have been wrong—shook his whole frame for a moment. Again, he did not seem to notice it. I said:

"That's right. Not even your family. Of course the whole world will know the station's a bluff, but if those are the orders—"

"I don't know," Gascoigne said harshly. "I don't know whether I even got any orders. I don't remember where I put them. Maybe they're not real." He looked at me confusedly, and his expression was frighteningly like that of a small boy making a confession.

"You know something?" he said. "I don't know what's real any more. I haven't been able to tell, ever since yesterday. I don't even know if you are real, or your ID card either. What do you think of that?"

"Nothing," I said.

"Nothing? Nothing! That's my trouble. Nothing! I can't tell what's nothing and what's something. You say the bombs are duds. All right. But what if you're the dud, and the bombs are real? Answer me that!"

His expression was almost triumphant now.

"The bombs are duds," I said. "And you've gone and steamed up your glasses again. Why don't you turn down the humidity, so you can see for three minutes and running?"

Gascoigne leaned far forward, so far that he was perilously close to toppling, and peered directly into my face.

"Don't give me that," he said hoarsely. "Don't—give—me—that—stuff."

I froze right where I was. Gascoigne watched my eyes for a while. Then, slowly, he put his hand on his forehead and began to wipe it downward. He smeared it over his face, in slow motion, all the way down to his chin.

Then he took the hand away and looked at it, as though it had just strangled him and he couldn't understand why. And finally he spoke.

"It—isn't true," he said dully. "I'm not wearing any glasses. Haven't worn glasses since I was ten. Not since I broke my last pair—playing King of the Hill."

He sat down before the bombardier board and put his head in his hands.

"You win," he said hoarsely. "I must be crazy as a loon. I don't know what I'm seeing and what I'm not. You better take this gun away. If I fired it I might even hit something."

"You're all right," I said. And I meant it; but I didn't waste any time all the same. The automatic first; then the tape. In that order, the sequence couldn't be reversed afterwards.

But the sound of the programmer's journal clicking to "Off" was as loud in that cabin as any gunshot.

"He'll be all right," I told Joan afterwards. "He pulled himself through. I wouldn't have dared to throw it at any other man that fast—but he's got guts."

"Just the same," Joan said, "they'd better start rotating the station captains faster. The next man may not be so tough—and what if he's a sleepwalker?"

I didn't say anything. I'd had my share of worries for that week.

"You did a whale of a job yourself, Peter," Joan said. "I just wish we could bank it in the machine. We might need the data later."

"Well, why can't we?"

"The Joint Chiefs of Staff say no. They don't say why. But they don't want any part of it recorded in ULTIMAC—or anywhere else."

I stared at her. At first it didn't seem to make sense. And then it did—and that was worse.

"Wait a minute," I said. "Joan—does that mean what I think it means? Is 'Spatial Supremacy' just as bankrupt as 'Massive Retaliation' was? Is it possible that the satellite—and the bombs.... Is it possible that I was telling Gascoigne the truth about the bombs being duds?"

Joan shrugged.

"He that darkeneth counsel without wisdom," she said, "isn't earning his salary."

*** END OF THIS PROJECT GUTENBERG EBOOK ***

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

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

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

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

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate

Section 5. General Information About Project Gutenberg™ electronic works

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

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

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

The Project Gutenberg eBook of King of the Hill, by James Blish

KING OF THE HILL

THE FULL PROJECT GUTENBERG LICENSE