diff options
Diffstat (limited to '27013.txt')
| -rw-r--r-- | 27013.txt | 1704 |
1 files changed, 1704 insertions, 0 deletions
diff --git a/27013.txt b/27013.txt new file mode 100644 index 0000000..10ed537 --- /dev/null +++ b/27013.txt @@ -0,0 +1,1704 @@ +Project Gutenberg's Hellhounds of the Cosmos, by Clifford Donald Simak + +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.org + + +Title: Hellhounds of the Cosmos + +Author: Clifford Donald Simak + +Release Date: October 24, 2008 [EBook #27013] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK HELLHOUNDS OF THE COSMOS *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + +[Illustration: _He glimmered momentarily, then vanished._] + + +Hellhounds of the Cosmos + +By Clifford D. Simak + + + Weird are the conditions of the + interdimensional struggle faced + by Dr. White's ninety-nine men. + + +The paper had gone to press, graphically describing the latest of the +many horrible events which had been enacted upon the Earth in the last +six months. The headlines screamed that Six Corners, a little hamlet in +Pennsylvania, had been wiped out by the Horror. Another front-page +story told of a Terror in the Amazon Valley which had sent the natives +down the river in babbling fear. Other stories told of deaths here and +there, all attributable to the "Black Horror," as it was called. + +The telephone rang. + +"Hello," said the editor. + +"London calling," came the voice of the operator. + +"All right," replied the editor. + +He recognized the voice of Terry Masters, special correspondent. His +voice came clearly over the transatlantic telephone. + +"The Horror is attacking London in force," he said. "There are thousands +of them and they have completely surrounded the city. All roads are +blocked. The government declared the city under martial rule a quarter +of an hour ago and efforts are being made to prepare for resistance +against the enemy." + +"Just a second," the editor shouted into the transmitter. + +He touched a button on his desk and in a moment an answering buzz told +him he was in communication with the press-room. + +"Stop the presses!" he yelled into the speaking tube. "Get ready for a +new front make-up!" + +"O.K.," came faintly through the tube, and the editor turned back to the +phone. + +"Now let's have it," he said, and the voice at the London end of the +wire droned on, telling the story that in another half hour was read by +a world which shuddered in cold fear even as it scanned the glaring +headlines. + + * * * * * + +"Woods," said the editor of the _Press_ to a reporter, "run over and +talk to Dr. Silas White. He phoned me to send someone. Something about +this Horror business." + +Henry Woods rose from his chair without a word and walked from the +office. As he passed the wire machine it was tapping out, with a +maddeningly methodical slowness, the story of the fall of London. Only +half an hour before it had rapped forth the flashes concerning the +attack on Paris and Berlin. + +He passed out of the building into a street that was swarming with +terrified humanity. Six months of terror, of numerous mysterious deaths, +of villages blotted out, had set the world on edge. Now with London in +possession of the Horror and Paris and Berlin fighting hopelessly for +their lives, the entire population of the world was half insane with +fright. + +Exhorters on street corners enlarged upon the end of the world, asking +that the people prepare for eternity, attributing the Horror to the act +of a Supreme Being enraged with the wickedness of the Earth. + +Expecting every moment an attack by the Horror, people left their work +and gathered in the streets. Traffic, in places, had been blocked for +hours and law and order were practically paralyzed. Commerce and +transportation were disrupted as fright-ridden people fled from the +larger cities, seeking doubtful hiding places in rural districts from +the death that stalked the land. + +A loudspeaker in front of a music store blared forth the latest news +flashes. + +"It has been learned," came the measured tones of the announcer, "that +all communication with Berlin ceased about ten minutes ago. At Paris all +efforts to hold the Horror at bay have been futile. Explosives blow it +apart, but have the same effect upon it as explosion has on gas. It +flies apart and then reforms again, not always in the same shape as it +was before. A new gas, one of the most deadly ever conceived by man, has +failed to have any effect on the things. Electric guns and heat guns +have absolutely no effect upon them. + +"A news flash which has just come in from Rome says that a large number +of the Horrors has been sighted north of that city by airmen. It seems +they are attacking the capitals of the world first. Word comes from +Washington that every known form of defense is being amassed at that +city. New York is also preparing...." + +Henry Woods fought his way through the crowd which milled in front of +the loudspeaker. The hum of excitement was giving away to a silence, the +silence of a stunned people, the fearful silence of a populace facing a +presence it is unable to understand, an embattled world standing with +useless weapons before an incomprehensible enemy. + +In despair the reporter looked about for a taxi, but realized, with a +groan of resignation, that no taxi could possibly operate in that +crowded street. A street car, blocked by the stream of humanity which +jostled and elbowed about it, stood still, a defeated thing. + +Seemingly the only man with a definite purpose in that whirlpool of +terror-stricken men and women, the newspaperman settled down to the +serious business of battling his way through the swarming street. + + * * * * * + +"Before I go to the crux of the matter," said Dr. Silas White, about +half an hour later, "let us first review what we know of this so-called +Horror. Suppose you tell me exactly what you know of it." + +Henry Woods shifted uneasily in his chair. Why didn't the old fool get +down to business? The chief would raise hell if this story didn't make +the regular edition. He stole a glance at his wrist-watch. There was +still almost an hour left. Maybe he could manage it. If the old chap +would only snap into it! + +"I know no more," he said, "than is common knowledge." + +The gimlet eyes of the old white-haired scientist regarded the +newspaperman sharply. + +"And that is?" he questioned. + +There was no way out of it, thought Henry. He'd have to humor the old +fellow. + +"The Horror," he replied, "appeared on Earth, so far as the knowledge of +man is concerned, about six months ago." + +Dr. White nodded approvingly. + +"You state the facts very aptly," he said. + +"How so?" + +"When you say 'so far as the knowledge of man is concerned.'" + +"Why is that?" + +"You will understand in due time. Please proceed." + +Vaguely the newspaperman wondered whether he was interviewing the +scientist or the scientist interviewing him. + + * * * * * + +"They were first reported," Woods said, "early this spring. At that time +they wiped out a small village in the province of Quebec. All the +inhabitants, except a few fugitives, were found dead, killed +mysteriously and half eaten, as if by wild beasts. The fugitives were +demented, babbling of black shapes that swept down out of the dark +forest upon the little town in the small hours of the morning. + +"The next that was heard of them was about a week later, when they +struck in an isolated rural district in Poland, killing and feeding on +the population of several farms. In the next week more villages were +wiped out, in practically every country on the face of the Earth. From +the hinterlands came tales of murder done at midnight, of men and women +horribly mangled, of livestock slaughtered, of buildings crushed as if +by some titanic force. + +"At first they worked only at night and then, seeming to become bolder +and more numerous, attacked in broad daylight." + +The newspaperman paused. + +"Is that what you want?" he asked. + +"That's part of it," replied Dr. White, "but that's not all. What do +these Horrors look like?" + +"That's more difficult," said Henry. "They have been reported as every +conceivable sort of monstrosity. Some are large and others are small. +Some take the form of animals, others of birds and reptiles, and some +are cast in appalling shapes such as might be snatched out of the horrid +imagery of a thing which resided in a world entirely alien to our own." + + * * * * * + +Dr. White rose from his chair and strode across the room to confront the +other. + +"Young man," he asked, "do you think it possible the Horror might have +come out of a world entirely alien to our own?" + +"I don't know," replied Henry. "I know that some of the scientists +believe they came from some other planet, perhaps even from some other +solar system. I know they are like nothing ever known before on Earth. +They are always inky black, something like black tar, you know, sort of +sticky-looking, a disgusting sight. The weapons of mankind can't affect +them. Explosives are useless and so are projectiles. They wade through +poison gas and fiery chemicals and seem to enjoy them. Elaborate +electrical barriers have failed. Heat doesn't make them turn a hair." + +"And you think they came from some other planet, perhaps some other +solar system?" + +"I don't know what to think," said Henry. "If they came out of space +they must have come in some conveyance, and that would certainly have +been sighted, picked up long before it arrived, by our astronomers. If +they came in small conveyances, there must have been many of them. If +they came in a single conveyance, it would be too large to escape +detection. That is, unless--" + +"Unless what?" snapped the scientist. + +"Unless it traveled at the speed of light. Then it would have been +invisible." + +"Not only invisible," snorted the old man, "but non-existent." + +A question was on the tip of the newspaperman's tongue, but before it +could be asked the old man was speaking again, asking a question: + +"Can you imagine a fourth dimension?" + +"No, I can't," said Henry. + +"Can you imagine a thing of only two dimensions?" + +"Vaguely, yes." + +The scientist smote his palms together. + +"Now we're coming to it!" he exclaimed. + +Henry Woods regarded the other narrowly. The old man must be turned. +What did fourth and second dimensions have to do with the Horror? + +"Do you know anything about evolution?" questioned the old man. + +"I have a slight understanding of it. It is the process of upward +growth, the stairs by which simple organisms climb to become more +complex organisms." + +Dr. White grunted and asked still another question: + +"Do you know anything about the theory of the exploding universe? Have +you ever noted the tendency of the perfectly balanced to run amuck?" + +The reporter rose slowly to his feet. + +"Dr. White," he said, "you phoned my paper you had a story for us. I +came here to get it, but all you have done is ask me questions. If you +can't tell me what you want us to publish, I will say good-day." + +The doctor put forth a hand that shook slightly. + +"Sit down, young man," he said. "I don't blame you for being impatient, +but I will now come to my point." + +The newspaperman sat down again. + + * * * * * + +"I have developed a hypothesis," said Dr. White, "and have conducted +several experiments which seem to bear it out. I am staking my +reputation upon the supposition that it is correct. Not only that, but I +am also staking the lives of several brave men who believe implicitly in +me and my theory. After all, I suppose it makes little difference, for +if I fail the world is doomed, if I succeed it is saved from complete +destruction. + +"Have you ever thought that our evolutionists might be wrong, that +evolution might be downward instead of upward? The theory of the +exploding universe, the belief that all of creation is running down, +being thrown off balance by the loss of energy, spurred onward by cosmic +accidents which tend to disturb its equilibrium, to a time when it will +run wild and space will be filled with swirling dust of disintegrated +worlds, would bear out this contention. + +"This does not apply to the human race. There is no question that our +evolution is upward, that we have arisen from one-celled creatures +wallowing in the slime of primal seas. Our case is probably paralleled +by thousands of other intelligences on far-flung planets and island +universes. These instances, however, running at cross purposes to the +general evolutional trend of the entire cosmos, are mere flashes in the +eventual course of cosmic evolution, comparing no more to eternity than +a split second does to a million years. + +"Taking these instances, then, as inconsequential, let us say that the +trend of cosmic evolution is downward rather than upward, from complex +units to simpler units rather than from simple units to more complex +ones. + +"Let us say that life and intelligence have degenerated. How would you +say such a degeneration would take place? In just what way would it be +manifested? What sort of transition would life pass through in passing +from one stage to a lower one? Just what would be the nature of these +stages?" + +The scientist's eyes glowed brightly as he bent forward in his chair. +The newspaperman said simply: "I have no idea." + +"Man," cried the old man, "can't you see that it would be a matter of +dimensions? From the fourth dimension to the third, from the third to +the second, from the second to the first, from the first to a +questionable existence or plane which is beyond our understanding or +perhaps to oblivion and the end of life. Might not the fourth have +evolved from a fifth, the fifth from a sixth, the sixth from a seventh, +and so on to no one knows what multidimension?" + + * * * * * + +Dr. White paused to allow the other man to grasp the importance of his +statements. Woods failed lamentably to do so. + +"But what has this to do with the Horror?" he asked. + +"Have you absolutely no imagination?" shouted the old man. + +"Why, I suppose I have, but I seem to fail to understand." + +"We are facing an invasion of fourth-dimensional creatures," the old man +whispered, almost as if fearful to speak the words aloud. "We are being +attacked by life which is one dimension above us in evolution. We are +fighting, I tell you, a tribe of hellhounds out of the cosmos. They are +unthinkably above us in the matter of intelligence. There is a chasm of +knowledge between us so wide and so deep that it staggers the +imagination. They regard us as mere animals, perhaps not even that. So +far as they are concerned we are just fodder, something to be eaten as +we eat vegetables and cereals or the flesh of domesticated animals. +Perhaps they have watched us for years, watching life on the world +increase, lapping their monstrous jowls over the fattening of the Earth. +They have awaited the proper setting of the banquet table and now they +are dining. + +"Their thoughts are not our thoughts, their ideals not our ideals. +Perhaps they have nothing in common with us except the primal basis of +all life, self-preservation, the necessity of feeding. + +"Maybe they have come of their own will. I prefer to believe that they +have. Perhaps they are merely following the natural course of events, +obeying some immutable law legislated by some higher being who watches +over the cosmos and dictates what shall be and what shall not be. If +this is true it means that there has been a flaw in my reasoning, for I +believed that the life of each plane degenerated in company with the +degeneration of its plane of existence, which would obey the same +evolutional laws which govern the life upon it. I am quite satisfied +that this invasion is a well-planned campaign, that some +fourth-dimensional race has found a means of breaking through the veil +of force which separates its plane from ours." + +"But," pointed out Henry Woods, "you say they are fourth-dimensional +things. I can't see anything about them to suggest an additional +dimension. They are plainly three-dimensional." + +"Of course they are three-dimensional. They would have to be to live in +this world of three dimensions. The only two-dimensional objects which +we know of in this world are merely illusions, projections of the third +dimension, like a shadow. It is impossible for more than one dimension +to live on any single plane. + +"To attack us they would have to lose one dimension. This they have +evidently done. You can see how utterly ridiculous it would be for you +to try to attack a two-dimensional thing. So far as you were concerned +it would have no mass. The same is true of the other dimensions. +Similarly a being of a lesser plane could not harm an inhabitant of a +higher plane. It is apparent that while the Horror has lost one material +dimension, it has retained certain fourth-dimensional properties which +make it invulnerable to the forces at the command of our plane." + +The newspaperman was now sitting on the edge of his chair. + +"But," he asked breathlessly, "it all sounds so hopeless. What can be +done about it?" + +Dr. White hitched his chair closer and his fingers closed with a fierce +grasp upon the other's knee. A militant boom came into his voice. + +"My boy," he said, "we are to strike back. We are going to invade the +fourth-dimensional plane of these hellhounds. We are going to make them +feel our strength. We are going to strike back." + +Henry Woods sprang to his feet. + +"How?" he shouted. "Have you...?" + +Dr. White nodded. + +"I have found a way to send the third-dimensional into the fourth. Come +and I will show you." + + * * * * * + +The machine was huge, but it had an appearance of simple construction. A +large rectangular block of what appeared to be a strange black metal was +set on end and flanked on each side by two smaller ones. On the top of +the large block was set a half-globe of a strange substance, somewhat, +Henry thought, like frosted glass. On one side of the large cube was set +a lever, a long glass panel, two vertical tubes and three clock-face +indicators. The control board, it appeared, was relatively simple. + +Beside the mass of the five rectangles, on the floor, was a large plate +of transparent substance, ground to a concave surface, through which one +could see an intricate tangle of wire mesh. + +Hanging from the ceiling, directly above the one on the floor, was +another concave disk, but this one had a far more pronounced curvature. + +Wires connected the two disks and each in turn was connected to the +rectangular machine. + +"It is a matter of the proper utilization of two forces, electrical and +gravitational," proudly explained Dr. White. "Those two forces, properly +used, warp the third-dimensional into the fourth. A reverse process is +used to return the object to the third. The principle of the machine +is--" + +The old man was about to launch into a lengthy discussion, but Henry +interrupted him. A glance at his watch had shown him press time was +drawing perilously close. + +"Just a second," he said. "You propose to warp a third-dimensional being +into a fourth dimension. How can a third-dimensional thing exist there? +You said a short time ago that only a specified dimension could exist on +one single plane." + +"You have missed my point," snapped Dr. White. "I am not sending a +third-dimensional thing to a fourth dimension. I am changing the +third-dimensional being into a fourth-dimensional being. I add a +dimension, and automatically the being exists on a different plane. I am +reversing evolution. This third dimension we now exist on evolved, +millions of eons ago, from a fourth dimension. I am sending a lesser +entity back over those millions of eons to a plane similar to one upon +which his ancestors lived inconceivably long ago." + +"But, man, how do you know you can do it?" + + * * * * * + +The doctor's eyes gleamed and his fingers reached out to press a bell. + +A servant appeared almost at once. + +"Bring me a dog," snapped the old man. The servant disappeared. + +"Young man," said Dr. White, "I am going to show you how I know I can do +it. I have done it before, now I am going to do it for you. I have sent +dogs and cats back to the fourth dimension and returned them safely to +this room. I can do the same with men." + +The servant reappeared, carrying in his arms a small dog. The doctor +stepped to the control board of his strange machine. + +"All right, George," he said. + +The servant had evidently worked with the old man enough to know what +was expected of him. He stepped close to the floor disk and waited. The +dog whined softly, sensing that all was not exactly right. + +The old scientist slowly shoved the lever toward the right, and as he +did so a faint hum filled the room, rising to a stupendous roar as he +advanced the lever. From both floor disk and upper disk leaped strange +cones of blue light, which met midway to form an hour-glass shape of +brilliance. + +The light did not waver or sparkle. It did not glow. It seemed hard and +brittle, like straight bars of force. The newspaperman, gazing with awe +upon it, felt that terrific force was there. What had the old man said? +Warp a third-dimensional being into another dimension! That would take +force! + +As he watched, petrified by the spectacle, the servant stepped forward +and, with a flip, tossed the little dog into the blue light. The animal +could be discerned for a moment through the light and then it +disappeared. + +"Look in the globe!" shouted the old man; and Henry jerked his eyes from +the column of light to the half-globe atop the machine. + +He gasped. In the globe, deep within its milky center, glowed a picture +that made his brain reel as he looked upon it. It was a scene such as no +man could have imagined unaided. It was a horribly distorted projection +of an eccentric landscape, a landscape hardly analogous to anything on +Earth. + + * * * * * + +"That's the fourth dimension, sir," said the servant. + +"That's not the fourth dimension," the old man corrected him. "That's a +third-dimensional impression of the fourth dimension. It is no more the +fourth dimension than a shadow is three-dimensional. It, like a shadow, +is merely a projection. It gives us a glimpse of what the fourth plane +is like. It is a shadow of that plane." + +Slowly a dark blotch began to grow in the landscape. Slowly it assumed +definite form. It puzzled the reporter. It looked familiar. He could +have sworn he had seen it somewhere before. It was alive, for it had +moved. + +"That, sir, is the dog," George volunteered. + +"That was the dog," Dr. White again corrected him. "God knows what it is +now." + +He turned to the newspaperman. + +"Have you seen enough?" he demanded. + +Henry nodded. + +The other slowly began to return the lever to its original position. +The roaring subsided, the light faded, the projection in the half-globe +grew fainter. + +"How are you going to use it?" asked the newspaperman. + +"I have ninety-eight men who have agreed to be projected into the fourth +dimension to seek out the entities that are attacking us and attack them +in turn. I shall send them out in an hour." + +"Where is there a phone?" asked the newspaperman. + +"In the next room," replied Dr. White. + +As the reporter dashed out of the door, the light faded entirely from +between the two disks and on the lower one a little dog crouched, +quivering, softly whimpering. + + * * * * * + +The old man stepped from the controls and approached the disk. He +scooped the little animal from where it lay into his arms and patted the +silky head. + +"Good dog," he murmured; and the creature snuggled close to him, +comforted, already forgetting that horrible place from which it had just +returned. + +"Is everything ready, George?" asked the old man. + +"Yes, sir," replied the servant. "The men are all ready, even anxious to +go. If you ask me, sir, they are a tough lot." + +"They are as brave a group of men as ever graced the Earth," replied the +scientist gently. "They are adventurers, every one of whom has faced +danger and will not shrink from it. They are born fighters. My one +regret is that I have not been able to secure more like them. A thousand +men such as they should be able to conquer any opponent. It was +impossible. The others were poor soft fools. They laughed in my face. +They thought I was an old fool--I, the man who alone stands between them +and utter destruction." + +His voice had risen to almost a scream, but it again sank to a normal +tone. + +"I may be sending ninety-eight brave men to instant death. I hope not." + +"You can always jerk them back, sir," suggested George. + +"Maybe I can, maybe not," murmured the old man. + +Henry Woods appeared in the doorway. + +"When do we start?" he asked. + +"We?" exclaimed the scientist. + +"Certainly, you don't believe you're going to leave me out of this. Why, +man, it's the greatest story of all time. I'm going as special war +correspondent." + +"They believed it? They are going to publish it?" cried the old man, +clutching at the newspaperman's sleeve. + +"Well, the editor was skeptical at first, but after I swore on all sorts +of oaths it was true, he ate it up. Maybe you think that story didn't +stop the presses!" + +"I didn't expect them to. I just took a chance. I thought they, too, +would laugh at me." + +"But when do we start?" persisted Henry. + +"You are really in earnest? You really want to go?" asked the old man, +unbelievingly. + +"I am going. Try to stop me." + +Dr. White glanced at his watch. + +"We will start in exactly thirty-four minutes," he said. + + * * * * * + +"Ten seconds to go." George, standing with watch in hand, spoke in a +precise manner, the very crispness of his words betraying the excitement +under which he labored. + +The blue light, hissing, drove from disk to disk; the room thundered +with the roar of the machine, before which stood Dr. White, his hand on +the lever, his eyes glued on the instruments before him. + +In a line stood the men who were to fling themselves into the light to +be warped into another dimension, there to seek out and fight an unknown +enemy. The line was headed by a tall man with hands like hams, with a +weather-beaten face and a wild mop of hair. Behind him stood a +belligerent little cockney. Henry Woods stood fifth in line. They were a +motley lot, adventurers every one of them, and some were obviously +afraid as they stood before that column of light, with only a few +seconds of the third dimension left to them. They had answered a weird +advertisement, and had but a limited idea of what they were about to do. +Grimly, though, they accepted it as a job, a bizarre job, but a job. +They faced it as they had faced other equally dangerous, but less +unusual, jobs. + +"Five seconds," snapped George. + +The lever was all the way over now. The half-globe showed, within its +milky interior, a hideously distorted landscape. The light had taken on +a hard, brittle appearance and its hiss had risen to a scream. The +machine thundered steadily with a suggestion of horrible power. + +"Time up!" + +The tall man stepped forward. His foot reached the disk; another step +and he was bathed in the light, a third and he glimmered momentarily, +then vanished. Close on his heels followed the little cockney. + +With his nerves at almost a snapping point, Henry moved on behind the +fourth man. He was horribly afraid, he wanted to break from the line and +run, it didn't matter where, any place to get away from that steady, +steely light in front of him. He had seen three men step into it, glow +for a second, and then disappear. A fourth man had placed his foot on +the disk. + +Cold sweat stood out on his brow. Like an automaton he placed one foot +on the disk. The fourth man had already disappeared. + +"Snap into it, pal," growled the man behind. + +Henry lifted the other foot, caught his toe on the edge of the disk and +stumbled headlong into the column of light. + +He was conscious of intense heat which was instantly followed by equally +intense cold. For a moment his body seemed to be under enormous +pressure, then it seemed to be expanding, flying apart, bursting, +exploding.... + + * * * * * + +He felt solid ground under his feet, and his eyes, snapping open, saw an +alien land. It was a land of somber color, with great gray moors, and +beetling black cliffs. There was something queer about it, an intangible +quality that baffled him. + +He looked about him, expecting to see his companions. He saw no one. He +was absolutely alone in that desolate brooding land. Something dreadful +had happened! Was he the only one to be safely transported from the +third dimension? Had some horrible accident occurred? Was he alone? + +Sudden panic seized him. If something had happened, if the others were +not here, might it not be possible that the machine would not be able to +bring him back to his own dimension? Was he doomed to remain marooned +forever in this terrible plane? + +He looked down at his body and gasped in dismay. It was not his body! + +It was a grotesque caricature of a body, a horrible profane mass of +flesh, like a phantasmagoric beast snatched from the dreams of a +lunatic. + +It was real, however. He felt it with his hands, but they were not +hands. They were something like hands; they served the same purpose +that hands served in the third dimension. He was, he realized, a being +of the fourth dimension, but in his fourth-dimensional brain still clung +hard-fighting remnants of that faithful old third-dimensional brain. He +could not, as yet, see with fourth-dimensional eyes, think purely +fourth-dimensional thoughts. He had not oriented himself as yet to this +new plane of existence. He was seeing the fourth dimension through the +blurred lenses of millions of eons of third-dimensional existence. He +was seeing it much more clearly than he had seen it in the half-globe +atop the machine in Dr. White's laboratory, but he would not see it +clearly until every vestige of the third dimension was wiped from him. +That, he knew, would come in time. + +He felt his weird body with those things that served as hands, and he +found, beneath his groping, unearthly fingers, great rolling muscles, +powerful tendons, and hard, well-conditioned flesh. A sense of +well-being surged through him and he growled like an animal, like an +animal of that horrible fourth plane. + +But the terrible sounds that came from between his slobbering lips were +not those of his own voice, they were the voices of many men. + + * * * * * + +Then he knew. He was not alone. Here, in this one body were the bodies, +the brains, the power, the spirit, of those other ninety-eight men. In +the fourth dimension, all the millions of third-dimensional things were +one. Perhaps that particular portion of the third dimension called the +Earth had sprung from, or degenerated from, one single unit of a +dissolving, worn-out fourth dimension. The third dimension, warped back +to a higher plane, was automatically obeying the mystic laws of +evolution by reforming in the shape of that old ancestor, unimaginably +removed in time from the race he had begot. He was no longer Henry +Woods, newspaperman; he was an entity that had given birth, in the dim +ages when the Earth was born, to a third dimension. Nor was he alone. +This body of his was composed of other sons of that ancient entity. + +He felt himself grow, felt his body grow vaster, assume greater +proportions, felt new vitality flow through him. It was the other men, +the men who were flinging themselves into the column of light in the +laboratory to be warped back to this plane, to be incorporated in his +body. + +It was not his body, however. His brain was not his alone. The pronoun, +he realized, represented the sum total of those other men, his fellow +adventurers. + +Suddenly a new feeling came, a feeling of completeness, a feeling of +supreme fitness. He knew that the last of the ninety-eight men had +stepped across the disk, that all were here in this giant body. + +Now he could see more clearly. Things in the landscape, which had +escaped him before, became recognizable. Awful thoughts ran through his +brain, heavy, ponderous, black thoughts. He began to recognize the +landscape as something familiar, something he had seen before, a thing +with which he was intimate. Phenomena, which his third-dimensional +intelligence would have gasped at, became commonplace. He was finally +seeing through fourth-dimensional eyes, thinking fourth-dimensional +thoughts. + +Memory seeped into his brain and he had fleeting visions, visions of +dark caverns lit by hellish flames, of huge seas that battered +remorselessly with mile-high waves against towering headlands that +reared titanic toward a glowering sky. He remembered a red desert +scattered with scarlet boulders, he remembered silver cliffs of +gleaming metallic stone. Through all his thoughts ran something else, a +scarlet thread of hate, an all-consuming passion, a fierce lust after +the life of some other entity. + +He was no longer a composite thing built of third-dimensional beings. He +was a creature of another plane, a creature with a consuming hate, and +suddenly he knew against whom this hate was directed and why. He knew +also that this creature was near and his great fists closed and then +spread wide as he knew it. How did he know it? Perhaps through some +sense which he, as a being of another plane, held, but which was alien +to the Earth. Later, he asked himself this question. At the time, +however, there was no questioning on his part. He only knew that +somewhere near was a hated enemy and he did not question the source of +his knowledge.... + + * * * * * + +Mumbling in an idiom incomprehensible to a third-dimensional being, +filled with rage that wove redly through his brain, he lumbered down the +hill onto the moor, his great strides eating up the distance, his +footsteps shaking the ground. + +At the foot of the hill he halted and from his throat issued a +challenging roar that made the very crags surrounding the moor tremble. +The rocks flung back the roar as if in mockery. + +Again he shouted and in the shout he framed a lurid insult to the enemy +that lurked there in the cliffs. + +Again the crags flung back the insult, but this time the echoes, booming +over the moor, were drowned by another voice, the voice of the enemy. + +At the far end of the moor appeared a gigantic form, a form that +shambled on grotesque, misshapen feet, growling angrily as he came. + +He came rapidly despite his clumsy gait, and as he came he mouthed +terrific threats. + +Close to the other he halted and only then did recognition dawn in his +eyes. + +"_You, Mal Shaff?_" he growled in his guttural tongue, and surprise and +consternation were written large upon his ugly face. + +"Yes, it is I, Mal Shaff," boomed the other. "Remember, Ouglat, the day +you destroyed me and my plane. I have returned to wreak my vengeance. I +have solved a mystery you have never guessed and I have come back. You +did not imagine you were attacking me again when you sent your minions +to that other plane to feed upon the beings there. It was I you were +attacking, fool, and I am here to kill you." + +Ouglat leaped and the thing that had been Henry Woods, newspaperman, and +ninety-eight other men, but was now Mal Shaff of the fourth dimension, +leaped to meet him. + +Mal Shaff felt the force of Ouglat, felt the sharp pain of a hammering +fist, and lashed out with those horrible arms of his to smash at the +leering face of his antagonist. He felt his fists strike solid flesh, +felt the bones creak and tremble beneath his blow. + +His nostrils were filled with the terrible stench of the other's foul +breath and his filthy body. He teetered on his gnarled legs and +side-stepped a vicious kick and then stepped in to gouge with +straightened thumb at the other's eye. The thumb went true and Ouglat +howled in pain. + +Mal Shaff leaped back as his opponent charged head down, and his knotted +fist beat a thunderous tattoo as the misshapen beast closed in. He felt +clawing fingers seeking his throat, felt ghastly nails ripping at his +shoulders. In desperation he struck blindly, and Ouglat reeled away. +With a quick stride he shortened the distance between them and struck +Ouglat a hard blow squarely on his slavering mouth. Pressing hard upon +the reeling figure, he swung his fists like sledge-hammers, and Ouglat +stumbled, falling in a heap on the sand. + +Mal Shaff leaped upon the fallen foe and kicked him with his taloned +feet, ripping him wickedly. There was no thought of fair play, no +faintest glimmer of mercy. This was a battle to the death: there could +be no quarter. + + * * * * * + +The fallen monster howled, but his voice cut short as his foul mouth, +with its razor-edged fangs, closed on the other's body. His talons, +seeking a hold, clawed deep. + +Mal Shaff, his brain a screaming maelstrom of weird emotions, aimed +pile-driver blows at the enemy, clawed and ripped. Together the two +rolled, locked tight in titanic battle, on the sandy plain and a great +cloud of heavy dust marked where they struggled. + +In desperation Ouglat put every ounce of his strength into a heave that +broke the other's grip and flung him away. + +The two monstrosities surged to their feet, their eyes red with hate, +glaring through the dust cloud at one another. + +Slowly Ouglat's hand stole to a black, wicked cylinder that hung on a +belt at his waist. His fingers closed upon it and he drew the weapon. As +he leveled it at Mal Shaff, his lips curled back and his features +distorted into something that was not pleasant to see. + +Mal Shaff, with doubled fists, saw the great thumb of his enemy slowly +depressing a button on the cylinder, and a great fear held him rooted +in his tracks. In the back of his brain something was vainly trying to +explain to him the horror of this thing which the other held. + +Then a multicolored spiral, like a corkscrew column of vapor, sprang +from the cylinder and flashed toward him. It struck him full on the +chest and even as it did so he caught the ugly fire of triumph in the +red eyes of his enemy. + +He felt a stinging sensation where the spiral struck, but that was all. +He was astounded. He had feared this weapon, had been sure it portended +some form of horrible death. But all it did was to produce a slight +sting. + +For a split second he stood stock-still, then he surged forward and +advanced upon Ouglat, his hands outspread like claws. From his throat +came those horrible sounds, the speech of the fourth dimension. + +"Did I not tell you, foul son of Sargouthe, that I had solved a mystery +you have never guessed at? Although you destroyed me long ago, I have +returned. Throw away your puny weapon. I am of the lower dimension and +am invulnerable to your engines of destruction. You bloated...." His +words trailed off into a stream of vileness that could never have +occurred to a third-dimensional mind. + +Ouglat, with every line of his face distorted with fear, flung the +weapon from him, and turning, fled clumsily down the moor, with Mal +Shaff at his heels. + + * * * * * + +Steadily Mal Shaff gained and with only a few feet separating him from +Ouglat, he dived with outspread arms at the other's legs. + +The two came down together, but Mal Shaff's grip was broken by the fall +and the two regained their feet at almost the same instant. + +The wild moor resounded to their throaty roaring and the high cliffs +flung back the echoes of the bellowing of the two gladiators below. It +was sheer strength now and flesh and bone were bruised and broken under +the life-shaking blows that they dealt. Great furrows were plowed in the +sand by the sliding of heavy feet as the two fighters shifted to or away +from attack. Blood, blood of fourth-dimensional creatures, covered the +bodies of the two and stained the sand with its horrible hue. +Perspiration streamed from them and their breath came in gulping gasps. + +The lurid sun slid across the purple sky and still the two fought on. +Ouglat, one of the ancients, and Mal Shaff, reincarnated. It was a +battle of giants, a battle that must have beggared even the titanic +tilting of forgotten gods and entities in the ages when the +third-dimensional Earth was young. + +Mal Shaff had no conception of time. He may have fought seconds or +hours. It seemed an eternity. He had attempted to fight scientifically, +but had failed to do so. While one part of him had cried out to elude +his opponent, to wait for openings, to conserve his strength, another +part had shouted at him to step in and smash, smash, smash at the hated +monstrosity pitted against him. + +It seemed Ouglat was growing in size, had become more agile, that his +strength was greater. His punches hurt more; it was harder to hit him. + +Still Mal Shaff drilled in determinedly, head down, fists working like +pistons. As the other seemed to grow stronger and larger, he seemed to +become smaller and weaker. + +It was queer. Ouglat should be tired, too. His punches should be weaker. +He should move more slowly, be heavier on his feet. + +There was no doubt of it. Ouglat was growing larger, was drawing on +some mysterious reserve of strength. From somewhere new force and life +were flowing into his body. But from where was this strength coming? + +A huge fist smashed against Mal Shaff's jaw. He felt himself lifted, and +the next moment he skidded across the sand. + +Lying there, gasping for breath, almost too fagged to rise, with the +black bulk of the enemy looming through the dust cloud before him, he +suddenly realized the source of the other's renewed strength. + +Ouglat was recalling his minions from the third dimension! They were +incorporating in his body, returning to their parent body! + +They were coming back from the third dimension to the fourth dimension +to fight a third-dimensional thing reincarnated in the fourth-dimensional +form it had lost millions of eons ago! + +This was the end, thought Mal Shaff. But he staggered to his feet to +meet the charge of the ancient enemy and a grim song, a death chant +immeasurably old, suddenly and dimly remembered from out of the mists of +countless millenniums, was on his lips as he swung a pile-driver blow +into the suddenly astonished face of the rushing Ouglat.... + + * * * * * + +The milky globe atop the machine in Dr. White's laboratory glowed +softly, and within that glow two figures seemed to struggle. + +Before the machine, his hands still on the controls, stood Dr. Silas +White. Behind him the room was crowded with newspapermen and +photographers. + +Hours had passed since the ninety-eight men--ninety-nine, counting Henry +Woods--had stepped into the brittle column of light to be shunted back +through unguessed time to a different plane of existence. The old +scientist, during all those hours, had stood like a graven image before +his machine, eyes staring fixedly at the globe. + +Through the open windows he had heard the cry of the newsboy as the +_Press_ put the greatest scoop of all time on the street. The phone had +rung like mad and George answered it. The doorbell buzzed repeatedly and +George ushered in newspapermen who had asked innumerable questions, to +which he had replied briefly, almost mechanically. The reporters had +fought for the use of the one phone in the house and had finally drawn +lots for it. A few had raced out to use other phones. + +Photographers came and flashes popped and cameras clicked. The room was +in an uproar. On the rare occasions when the reporters were not using +the phone the instrument buzzed shrilly. Authoritative voices demanded +Dr. Silas White. George, his eyes on the old man, stated that Dr. Silas +White could not be disturbed, that he was busy. + +From the street below came the heavy-throated hum of thousands of +voices. The street was packed with a jostling crowd of awed humanity, +every eye fastened on the house of Dr. Silas White. Lines of police held +them back. + +"What makes them move so slowly?" asked a reporter, staring at the +globe. "They hardly seem to be moving. It looks like a slow motion +picture." + +"They are not moving slowly," replied Dr. White. "There must be a +difference in time in the fourth dimension. Maybe what is hours to us is +only seconds to them. Time must flow more slowly there. Perhaps it is a +bigger place than this third plane. That may account for it. They aren't +moving slowly, they are fighting savagely. It's a fight to the death! +Watch!" + + * * * * * + +The grotesque arm of one of the figures in the milky globe was moving +out slowly, loafing along, aimed at the head of the other. Slowly the +other twisted his body aside, but too slowly. The fist finally touched +the head, still moving slowly forward, the body following as slowly. The +head of the creature twisted, bent backward, and the body toppled back +in a leisurely manner. + +"What does White say?... Can't you get a statement of some sort from +him? Won't he talk at all? A hell of a fine reporter you are--can't even +get a man to open his mouth. Ask him about Henry Woods. Get a +human-interest slant on Woods walking into the light. Ask him how long +this is going to last. Damn it all, man, do something, and don't bother +me again until you have a real story--yes, I said a real story--are you +hard of hearing? For God's sake, do something!" + +The editor slammed the receiver on the hook. + +"Brooks," he snapped, "get the War Department at Washington. Ask them if +they're going to back up White. Go on, go on. Get busy.... How will you +get them? I don't know. Just get them, that's all. Get them!" + +Typewriters gibbered like chuckling morons through the roaring tumult of +the editorial rooms. Copy boys rushed about, white sheets clutched in +their grimy hands. Telephones jangled and strident voices blared through +the haze that arose from the pipes and cigarettes of perspiring writers +who feverishly transferred to paper the startling events that were +rocking the world. + +The editor, his necktie off, his shirt open, his sleeves rolled to the +elbow, drummed his fingers on the desk. It had been a hectic twenty-four +hours and he had stayed at the desk every minute of the time. He was +dead tired. When the moment of relaxation came, when the tension +snapped, he knew he would fall into an exhausted stupor of sleep, but +the excitement was keeping him on his feet. There was work to do. There +was news such as the world had never known before. Each new story meant +a new front make-up, another extra. Even now the presses were +thundering, even now papers with the ink hardly dry upon them were being +snatched by the avid public from the hands of screaming newsboys. + + * * * * * + +A man raced toward the city desk, waving a sheet of paper in his hand. +Sensing something unusual the others in the room crowded about as he +laid the sheet before the editor. + +"Just came in," the man gasped. + +The paper was a wire dispatch. It read: + + "Rome--The Black Horror is in full retreat. Although still + apparently immune to the weapons being used against it, it is + lifting the siege of this city. The cause is unknown." + +The editor ran his eye down the sheet. There was another dateline: + + "Madrid--The Black Horror, which has enclosed this city in a ring of + dark terror for the last two days, is fleeing, rapidly + disappearing...." + +The editor pressed a button. There was an answering buzz. + +"Composing room," he shouted, "get ready for a new front! Yes, another +extra. This will knock their eyes out!" + +A telephone jangled furiously. The editor seized it. + +"Yes. What was that?... White says he must have help. I see. Woods and +the others are weakening. Being badly beaten, eh?... More men needed to +go out to the other plane. Wants reinforcements. Yes. I see. Well, tell +him that he'll have them. If he can wait half an hour we'll have them +walking by thousands into that light. I'll be damned if we won't! Just +tell White to hang on! We'll have the whole nation coming to the +rescue!" + +He jabbed up the receiver. + +"Richards," he said, "write a streamer, 'Help Needed,' 'Reinforcements +Called'--something of that sort, you know. Make it scream. Tell the +foreman to dig out the biggest type he has. A foot high. If we ever +needed big type, we need it now!" + +He turned to the telephone. + +"Operator," he said, "get me the Secretary of War at Washington. The +secretary in person, you understand. No one else will do." + +He turned again to the reporters who stood about the desk. + +"In two hours," he explained, banging the desk top for emphasis, "we'll +have the United States Army marching into that light Woods walked into!" + + * * * * * + +The bloody sun was touching the edge of the weird world, seeming to +hesitate before taking the final plunge behind the towering black crags +that hung above the ink-pot shadows at their base. The purple sky had +darkened until it was almost the color of soft, black velvet. Great +stars were blazing out. + +Ouglat loomed large in the gathering twilight, a horrible misshapen ogre +of an outer world. He had grown taller, broader, greater. Mal Shaff's +head now was on a level with the other's chest; his huge arms seemed +toylike in comparison with those of Ouglat, his legs mere pipestems. + +Time and time again he had barely escaped as the clutching hands of +Ouglat reached out to grasp him. Once within those hands he would be +torn apart. + +The battle had become a game of hide and seek, a game of cat and mouse, +with Mal Shaff the mouse. + +Slowly the sun sank and the world became darker. His brain working +feverishly, Mal Shaff waited for the darkness. Adroitly he worked the +battle nearer and nearer to the Stygian darkness that lay at the foot of +the mighty crags. In the darkness he might escape. He could no longer +continue this unequal fight. Only escape was left. + +The sun was gone now. Blackness was dropping swiftly over the land, like +a great blanket, creating the illusion of the glowering sky descending +to the ground. Only a few feet away lay the total blackness under the +cliffs. + +Like a flash Mal Shaff darted into the blackness, was completely +swallowed in it. Roaring, Ouglat followed. + +His shoulders almost touching the great rock wall that shot straight up +hundreds of feet above him, Mal Shaff ran swiftly, fear lending speed to +his shivering legs. Behind him he heard the bellowing of his enemy. +Ouglat was searching for him, a hopeless search in that total darkness. +He would never find him. Mal Shaff felt sure. + +Fagged and out of breath, he dropped panting at the foot of the wall. +Blood pounded through his head and his strength seemed to be gone. He +lay still and stared out into the less dark moor that stretched before +him. + +For some time he lay there, resting. Aimlessly he looked out over the +moor, and then he suddenly noted, some distance to his right, a hill +rising from the moor. The hill was vaguely familiar. He remembered it +dimly as being of great importance. + +A sudden inexplicable restlessness filled him. Far behind him he heard +the enraged bellowing of Ouglat, but that he scarcely noticed. So long +as darkness lay upon the land he knew he was safe from his enemy. + +The hill had made him restless. He must reach the top. He could think of +no logical reason for doing so. Obviously he was safer here at the base +of the cliff, but a voice seemed to be calling, a friendly voice from +the hilltop. + + * * * * * + +He rose on aching legs and forged ahead. Every fiber of his being cried +out in protest, but resolutely he placed one foot ahead of the other, +walking mechanically. + +Opposite the hill he disregarded the strange call that pulsed down upon +him, long enough to rest his tortured body. He must build up his +strength for the climb. + +He realized that danger lay ahead. Once he quitted the blackness of the +cliff's base, Ouglat, even in the darkness that lay over the land, might +see him. That would be disastrous. Once over the top of the hill he +would be safe. + +Suddenly the landscape was bathed in light, a soft green radiance. One +moment it had been pitch dark, the next it was light, as if a giant +search-light had been snapped on. + +In terror, Mal Shaff looked for the source of the light. Just above the +horizon hung a great green orb, which moved up the ladder of the sky +even as he watched. + +A moon! A huge green satellite hurtling swiftly around this cursed +world! + +A great, overwhelming fear sat upon Mal Shaff and with a high, shrill +scream of anger he raced forward, forgetful of aching body and outraged +lungs. + +His scream was answered from far off, and out of the shadows of the +cliffs toward the far end of the moor a black figure hurled itself. +Ouglat was on the trail! + +Mal Shaff tore madly up the slope, topped the crest, and threw himself +flat on the ground, almost exhausted. + + * * * * * + +A queer feeling stole over him, a queer feeling of well-being. New +strength was flowing into him, the old thrill of battle was pounding +through his blood once more. + +Not only were queer things happening to his body, but also to his brain. +The world about him looked queer, held a sort of an intangible mystery +he could not understand. A half question formed in the back of his +brain. Who and what was he? Queer thoughts to be thinking! He was Mal +Shaff, but had he always been Mal Shaff? + +He remembered a brittle column of light, creatures with bodies unlike +his body, walking into it. He had been one of those creatures. There was +something about dimensions, about different planes, a plan for one plane +to attack another! + +He scrambled to his bowed legs and beat his great chest with mighty, +long-nailed hands. He flung back his head and from his throat broke a +sound to curdle the blood of even the bravest. + +On the moor below Ouglat heard the cry and answered it with one equally +ferocious. + +Mal Shaff took a step forward, then stopped stock-still. Through his +brain went a sharp command to return to the spot where he had stood, to +wait there until attacked. He stepped back, shifting his feet +impatiently. + +He was growing larger; every second fresh vitality was pouring into him. +Before his eyes danced a red curtain of hate and his tongue roared forth +a series of insulting challenges to the figure that was even now +approaching the foot of the hill. + +As Ouglat climbed the hill, the night became an insane bedlam. The +challenging roars beat like surf against the black cliffs. + +Ouglat's lips were flecked with foam, his red eyes were mere slits, his +mouth worked convulsively. + +They were only a few feet apart when Ouglat charged. + + * * * * * + +Mal Shaff was ready for him. There was no longer any difference in their +size and they met like the two forward walls of contending football +teams. + +Mal Shaff felt the soft throat of the other under his fingers and his +grip tightened. Maddened, Ouglat shot terrific blow after terrific blow +into Mal Shaff's body. + +Try as he might, however, he could not shake the other's grip. + +It was silent now. The night seemed brooding, watching the struggle on +the hilltop. + +Larger and larger grew Mal Shaff, until he overtopped Ouglat like a +giant. + +Then he loosened his grip and, as Ouglat tried to scuttle away, reached +down to grasp him by the nape of his neck. + +High above his head he lifted his enemy and dashed him to the ground. +With a leap he was on the prostrate figure, trampling it apart, smashing +it into the ground. With wild cries he stamped the earth, treading out +the last of Ouglat, the Black Horror. + +When no trace of the thing that had been Ouglat remained, he moved away +and viewed the trampled ground. + +Then, for the first time he noticed that the crest of the hill was +crowded with other monstrous figures. He glared at them, half in +surprise, half in anger. He had not noticed their silent approach. + +"It is Mal Shaff!" cried one. + +"Yes, I am Mal Shaff. What do you want?" + +"But, Mal Shaff, Ouglat destroyed you once long ago!" + +"And I, just now," replied Mal Shaff, "have destroyed Ouglat." + +The figures were silent, shifting uneasily. Then one stepped forward. + +"Mal Shaff," it said, "we thought you were dead. Apparently it was not +so. We welcome you to our land again. Ouglat, who once tried to kill you +and apparently failed, you have killed, which is right and proper. Come +and live with us again in peace. We welcome you." + +Mal Shaff bowed. + +Gone was all thought of the third dimension. Through Mal Shaff's mind +raced strange, haunting memories of a red desert scattered with scarlet +boulders, of silver cliffs of gleaming metallic stone, of huge seas +battering against towering headlands. There were other things, too. +Great palaces of shining jewels, and weird nights of inhuman joy where +hellish flames lit deep, black caverns. + +He bowed again. + +"I thank you, Bathazar," he said. + +Without a backward look he shambled down the hill with the others. + + * * * * * + +"Yes?" said the editor. "What's that you say? Doctor White is dead! A +suicide! Yeah, I understand. Worry, hey! Here, Roberts, take this +story." + +He handed over the phone. + +"When you write it," he said, "play up the fact he was worried about not +being able to bring the men back to the third dimension. Give him plenty +of praise for ending the Black Horror. It's a big story." + +"Sure," said Roberts, then spoke into the phone: "All right, Bill, shoot +the works." + + + + +Transcriber's Note: + + This etext was produced from _Astounding Stories_ June 1932. + 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 Project Gutenberg's Hellhounds of the Cosmos, by Clifford Donald Simak + +*** END OF THIS PROJECT GUTENBERG EBOOK HELLHOUNDS OF THE COSMOS *** + +***** This file should be named 27013.txt or 27013.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/7/0/1/27013/ + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from 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.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is 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.org + +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.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and 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.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. 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://pglaf.org + +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://pglaf.org + +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: http://pglaf.org/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.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |