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 ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. **
Title: The Capgras Shift
Author: Sam Vaknin
Release Date: January 2, 2008 [eBook #24109]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK THE CAPGRAS SHIFT***
Copyright (C) 2007 by Sam Vaknin.
The Capgras Shift
Malignant Self Love Narcissism Revisited
After the Rain How the West Lost the East
A World in Conflict and Transition
1. The Sinking
My marriage aborted, my private practice stillborn, I packed stale possessions in two flabby suitcases and bade my sterile apartment a tearless goodbye. On the spur of the moment, I had applied a fortnight before to a government post and, to my consternation, had won it handily. I was probably the only applicant.
It was an odd sort of job. The state authorities had just finished submerging 4 towns, 6 cemeteries, and numerous farms under the still, black waters of a new dammed reservoir of drinking water. The process was drawn out and traumatic. Tight-knit communities unraveled, families scattered, businesses ruined. The government undertook to provide the former inhabitants with psychological support: an on-site therapist (that's me), social workers, even a suicide line.
I had to relocate, hence my haphazard departure. I took the bus to the nearest big city and hitchhiked from there. The fare just about amortized my travel allowance for the entire week. I had to trudge in mud the last two or three kilometers only to find myself in a disorienting, nightmarish landscape: isled rooftops and church spires puncturing the abnormally still surface of a giant man-made lake. I waded ashore, amidst discarded furniture and toys and contemplated the buried devastation.
My clinic, I discovered, was a ramshackle barrack, replete with a derelict tiny lawn, strewn with rusting hulks of household goods. I was shown by a surly superintendent into a tiny enclosure: my flat. Crammed into a cubicle were a folding metal bed, military-issue blankets, and a depleted pillow. Still, I slept like a baby and woke up refreshed.
The first thing that struck me was the silence, punctuated by a revving-thrumming engine now and then: not a twitter, not a hum, not a human voice. There was no hot water, so I merely washed my armpits, my face and hands and feet and combed my hair the best I could, which wasn't much by anyone's standards. I was plunged into the maelstrom straightaway. My first patients, an elderly couple, their disintegrating marriage and crumbling health mirrored by the withering of their habitat.
The days passed, consumed by endless processions of juvenile delinquents, losers, the old, the sickly, the orphaned, the unemployed, and the abandoned, the detritus of human settlements now made to vanish at the bottom of a lake. It was a veritable makeshift refugee camp and I found myself immersed in the woes and complaints of misfits who lost their sense of community and means of livelihood and sought meaning in their cruel individual tragedies, but in vain.
On the Tuesday of the second week of what was fast becoming a surrealistic quagmire, I met Isabel. She was the very last in a long list of appointments and I kept praying that she would not keep hers, as many of them were wont to do. But she did and punctually so. I was struck by her regal bearing, her poise, her coiffed hair, and her dazzling but tasteful jewelry. Her equine face and aquiline nose meshed well with just a hint of the oriental slant and cheekbones to render her exotic.
She sat unbidden and watched me intently, benignly ignoring my rhetorical question:
"You are Isabel Kidlington, aren't you?"
Of course she was. Three centuries ago, her family established an eponymous town, now sunken beneath the calm surface of the lake.
Our first meeting ended frostily and unproductively but, in the fullness of time, as she opened up to me, I found myself looking forward to our encounters. I always scheduled her last, so that I could exceed the 45 minutes straightjacket of the classic therapy session. She was the first person in a long time - who am I kidding? the first person ever - who really listened to what I had to say. She rarely spoke, but, when she did, it was with the twin authority of age and wisdom. I guess I grew to love and respect her.
I wasn't sure why Isabel sought my meager services. She possessed enough common sense and fortitude to put to shame any therapist I knew. She never asked for my advice or shared her problems with me. She just made an appearance at the appointed time and sat there, back erect, hands resting in her lap, her best ear forward, the better to capture my whining litany and to commiserate.
One day, though, she entered my crude office and remained standing.
"Isabel," - I enquired - "is everything alright?"
"You know that I have been provided with a residence on Elm Street, now that my family home is underwater."
The "residence" was an imposing mansion, with an enormous driveway, an English, sculpted garden, and a series of working fountains. Isabel rented the place from a British-Canadian mogul of sorts, as she disdainfully informed me a while back.
"It's been invaded by strangers." - She made a dramatic announcement.
I looked at her, not comprehending:
"You mean burglars? Squatters? Who are these strangers? Why don't you call the Police to evict them? It could be dangerous, you know!"
She waved away my concerned pleas impatiently:
"I can't call the police to evict them because they have assumed the bodies of my family members."
When she saw the bafflement in my eyes, she reiterated slowly, as if aiming to get through to a slow-witted, yet cherished, interlocutor:
"These invaders - they look like my husband and my son. But they are not. They are doubles. They are somehow wrong, fake, ersatz, if you know what I mean."
I didn't.
"I love my real relatives but not the current occupants of their corporeal remains. I keep my door locked at night!"
She made it sound like an unprecedented event.
"Isabel, sit down, please." - I said and she did, white-jointed hands clenched and venous. I decided not to confront her illogic but rather to leverage it to expose the absurdity of her assertions.
"Why would these body-snatchers go to all this trouble?"
"Don't be silly!" - She snapped - "Money, of course! They are after my fortune! These look-alikes are planning to murder me and abscond with my considerable fortune. They are all in my will, you see, and they know it! But they can't wait their turn, they are anxious to lay their dirty paws on my checkbook! They are afraid that I will change my mind!"
"You sound like you are referring to your true relatives." - I pointed out.
She recoiled:
"These criminals that took over my family, I want them gone! I want my husband back and my son!'
"Then why don't you simply alter your will and let them know about it? Announce the changes in a family gathering! That way they will lose all interest in you and move on to their next victim! That way, all incentives to murder you will be removed, you see."
She glanced at me dumbfounded:
"That's a wonderful idea, dear! You are so clever, you are so astute when you put your mind to it! Thank you! You can't imagine what a relief it is to strike upon the solution to such an impossible situation!"
She sprang from the creaky armchair and extended her hand to fondle my cheek:
"Thank you, honey. You made me proud."
I felt like a million dollars.
2. The Syndrome
Milton's eyeglasses glinted unsettlingly as he took in my crumpled clothes and unruly hair:
"So, you traveled all night, by yourself, in a hired car, to ask me this? She must mean all the world to you!"
He hasn't changed: cherubic, lecherous, bald, and clad in fading dungarees and Sellotaped, stapled sandals. Milton smelled of coffee grounds and incense.
He laid a hirsute hand on my shoulder and I retreated inadvertently and then apologized. He smiled mischievously:
"You are tired. Let's go to my office. You can refresh yourself there and I will tell you everything you ever wanted to know about the Capgras Syndrome and never dared to ask."
"Capgras Syndrome???"
"Coffee first!" - Milton pronounced and wheeled me forward.
*****
Ensconced in an ancient armchair, steamy libation in hand, I listened intently, absorbing every word that came out of the mouth of arguably the world's greatest expert on delusions.
"It's nothing new." - Said Milton, chewing on an ancient, ashen clay pipe - "It was first described by two French psychiatrists in 1923. Elderly people believe that their relatives have been replaced by malicious, conspiring doubles. They lock themselves in, buy guns, change their wills, complain to the authorities. If not checked with antipsychotic medication, they become violent. Quite a few cases of murder, resisting arrest, that sort of thing."
"What goes wrong with these people?"
Milton shrugged and tapped the empty implement on a much-tortured edge of his desk:
"Lots of speculation around, but nothing definite. Some say it's a problem with face recognition. You heard of prosopagnosia? Patients fail to identify their nearest and dearest, even though they react emotionally when they see them. Capgras is the mirror image, I guess: a failure to react emotionally to familiar faces. But guess is what we have all been doing in the last, oh, eight decades." - He concluded with undisguised disgust.
"I need help with this client, Milton," - I interjected - "and you are not helping me at all."
He chuckled sarcastically:
"How often do I hear it from my patients?"
"She is not paranoid, you know. Her mind is sharp and crystal-clear and balanced."
He nodded wearily:
"That's what confounds us with this syndrome. The patients are 'normal' by any definition of this word that you care to adopt. They are only convinced that family members, friends, even neighbors are being substituted for - and, of course, they are not."
He crouched next to my seat:
"Soon, she will begin to doubt you and then herself. Next time she catches her own reflection in a mirror or a window, she will start to question her own identity. She will insist that she has been replaced by an entity from outer space or something. She is bad news. The literature describes the case of a woman who flew into jealous rages at the sight of her own reflection because she thought it was another woman trying to seduce her husband."
Milton was evidently agitated, the first I have seen him this way. As my teacher and mentor, he kept a stiff upper lip in the face of the most outlandish disorders and the most all-pervasive ignorance. And in the face of our budding, dead end love.
"What do you advise me to do?" - I mumbled almost inaudibly.
"If she refuses anti-psychotic medication, bail out. Commit her. She is a danger both to herself and to others, not the least of whom, to you."
"I can't do that to her." - I protested - "I am the only person she trusts in the whole world. She is so scared, it breaks my heart. And just imagine what the family is going through: she even wants to change her will to disinherit them."
Milton's pained expression deepened:
"Then you are faced with only one alternative: psychodrama. To save her, you must enter her world, as convincingly as you can. Play her game, as it were. Pretend that you believe in her lunatic delusions. Act the part."
3. Dinner
"Will you?" - Enthused Isabel - "That's mighty fine of you! I have arranged for everyone to join me for dinner tomorrow evening. It's a Saturday, so people don't have to go to work the next day."
"How very considerate." - I stammered and Isabel laughed throatily:
"Don't be so distrait. It won't be as awkward as you fear. Sit next to me and watch the show as I expose these fraudsters and frustrate their plans!".
About to exit, she turned around, her wrinkled face suddenly smooth and becalmed:
"I will be expecting you. Be there. You must be present. For your own sake as much as for mine."
And she left the door ajar as she swooshed down the hall and out the building, into the flaking snow.
****
Isabel never looked more imposing as she sat at the head of the elongated table, attired in a sleeveless white chiffon dress, no hint of make-up on her imperious, commanding face. A beetle-shaped brooch complemented a lavish pearl necklace that emphasized the contours of her truly delicate neck. She was very animated, laughed a lot, and administered light touches of familiarity and affection to her husband and son, who flanked her.
Her spouse, a rubicund mount of a man, face varicose and hairy hands resting on his folded napkin, was clearly still smitten with his wife, paying close and ostentatious attention to her minutest wishes and utterances. His enormous girth twitched and turned towards her, like a plant craving the sun. His deep blue eyes glittered every time she humored him or re-arranged his cutlery.
The son was more reluctant, contemplating his mother with suspicion and his father with an ill-disguised hint of contempt. He was lanky, with a balding pate, and sported a failed attempt at a moustache, inexpertly daubed on his freckled face. He was also myopic and his hands fluttered restlessly throughout the evening. I found him most disagreeable.
There was a third person at the table: a mousy, inconsequential thing with an excruciatingly bad sartorial taste. She stared at everyone through a pair of dead, black, enormous pools that passed for eyes. Her hands were sinewy and contorted and she kept fidgeting, clasping and unclasping an ancient purse ("a gift from mother"), and rearranging a stray curl that kept obscuring her view. No one introduced us and she made it a point to avoid me, so I let it go.
The dishes cleared, Isabel came to the painful point:
"Dears," - she declared - "I summoned you today to make an important announcement. As you well know, my previous will and testament left everything to you, the two exclusive loves of my life." - A hiss of withdrawn breaths welcomed the word "previous".
"However, in the last couple of weeks, I have had reason to suspect foul play."
They stared at her, not comprehending.
"I am convinced that you are not who you purport to be. You look like my dearest but you are actually impostors, doubles, hired by the perpetrators of a malicious operation, bent of absconding with my inheritance."
The silence was palpable as her kin, jaws dropped in disbelief, listened to the unfolding speech with growing horror.
"I don't know yet what you have done with my real relatives but, rest assured, I intend to find out. Still, I am being told by one and sundry that I may be wrong or, frankly, that I am off my rocker, as they say."
"Hear, hear!" - Interjected her son and rose from his seat, as though to leave the table.
"Sit down!" - Snapped Isabel and he did, meekly, though clearly resentful.
"I have devised a test. Should you pass it, I will offer you all my most prostrate apologies and hope for your forgiveness. If you fail, his shall be proof of the subterfuge. I am then bent on altering my will to exclude all of you from it and bestow my entire estate on my good companion here." - And she pointed at a mortified me.
They all turned in their chairs and studied the intruder at length. The son's lips moved furiously but he remained inaudible. The husband merely shrugged and reverted to face his tormentor. Only the third guest protested by extending a pinkish tongue in my direction, careful to remain unobserved by her hostess.
"I will ask each one of you three questions." - Proceeded my new benefactor, unperturbed - "You can take as much time as you need to respond to them. Once you have given your answers, there is no going back, no second chance. So, think carefully. Your entire pecuniary future depends on it. These are the terms that I am setting. You are free to leave the room now, if you wish. Of course, by doing so, you will have forfeited your share of my riches." - She sneered unpleasantly. No one made a move.
"I take it then that we are all agreed." - Isabel proceeded and turned toward her husband:
"John, or whoever you are," - He recoiled as if struck with a fist - "what was the color of the curtains in the small hotel where we have consummated our love for the first time?"
"Must I go through this in public, in front of my son and this complete stranger?" - He bellowed, his monstrous frame towering over her. But she remained undaunted and unmoved and finally, he settled back in his creaking chair and resignedly mumbled:
"The room had no curtains. You complained all morning because the sunlight shone straight on your face and wouldn't let you fall asleep."
His visage was transformed by the memory, radiant and gentle now, as he re-lived the moment.
"True. You have clearly done your homework." - She confirmed reluctantly and addressed her son:
"Edward, what did you see in a book that made you cry so violently and inconsolably when you just a toddler?"
"It was an art book. There was a color reproduction of a painting of a group of patricians standing on an elevated porch, glancing over the railing at a scene below them. I can't recall any other detail, but the whole atmosphere was tenebrous and sinister. I was so frightened that I burst into wails. For some reason, you were not there, you were gone!" - And he pouted as he must have done back then when he had felt abandoned and betrayed by his mother.
"Althea, what was I wearing the first time we met, when Edward introduced you to me?"
Althea, the mouse, looked up in surprise:
"You introduced me to Edward, not the other way around!" - She protested - "I met you at the clinic, remember? Lording it over everyone, as usual." - She laughed bitterly and I shot her a warning glance, afraid that she might provoke Isabel into violent action - "Anyways, you were wearing precisely what you have on today, down to the tiniest detail. Even the brooch is the same, if I can tell."
And so it went. All three were able to fend off Isabel's fiendish challenges with accurate responses. Finally, evidently exhausted, she conceded defeat:
"Though my heart informs me differently, my head prevails and I am forced to accept that you are my true family. I hereby offer you the prostrate apologies that I have promised to make before." - She sprang abruptly from her seat - "And now, I am tired, I must sleep." - She ignored her husband's clumsy attempt to kiss her on the cheek and, not bidding farewell or good night to any of us, she exited the room in an apparent huff.
4. Post-Mortem
"What did you make of what you have just witnessed?"
Isabel snuck into the guest bedroom and settled into an overstuffed armchair at a penumbral corner. She was still wearing the same dress, though her jewelry was gone. I watched her reflection in my makeup mirror, as I was removing the war paint from my face, clad in my two-part, lilac-strewn pajamas. I felt naked and embarrassed and violated.
"They did pretty well." - I hedged my answer, not sure where she might be leading.
"They did rather too well." - She triumphantly proclaimed, her eyes shining.
"What do you mean by that?" - I enquired, my curiosity genuinely awakened.
"Pray, tell me, what was I wearing when we first met?"
I couldn't conjure the image, no matter how hard I tried.
"I am not sure." - I finally admitted defeat
"What was the color of the curtains in your mother's kitchen?"
"White, with machine embroidered strawberries or raspberries or something of the sort."
"What was the first horror movie that you have seen?"
"I can't be expected to remember that!" - I exclaimed.
"Of course you can't, dear. No one can. You'd be lucky to get one response out of three correct, you know." - She agreed - "This is the point I am trying to make. Didn't you find my family's omniscience and total recall a trifle overdone? Didn't you ask yourself for a minute how come they are all blessed with such supreme, marvelous memories?"
She sounded distant and heartbroken as she said:
"I have changed my will, you know. They couldn't fool me with their slick off-the-cuff ready-made know-it-all responses! It's all yours now. Sleep well, my true friend and, henceforth, my only heir!."
She glided over and kissed me on the cheek, once, like a butterfly alighting.
*****
I was woken up by a wet kiss planted on my lips by Isabel's husband.
"What do you think you are doing?" - I hissed and withdrew to the top of the bed - "If you don't leave the room this instant, I will scream!"
He looked hurt and baffled as he slid off the mattress and stretched his monolithic corpulence.
"What's wrong?" - He enquired - "Anything I did to offend you last night? You shouldn't have asked all these questions if you didn't want to hear my answers, you know!"
"Where's Isabel?" - I demanded.
He eyed me queerly and pleaded sadly:
"We are not going to go through all this again, are we, dear?"
"Go through what and I am asking you for the last time: where is Isabel, your wife?"
He sighed and collapsed on the bed, depressing it considerably as he held onto one of the bedposts:
"I will call Dr. Milton. Promise me you won't do anything stupid until he has had the chance to see you."
"I am going to call the police on you. Isabel announces her intention to disinherit you and the next morning she is mysteriously gone. Dead, for all I know!"
"Isabel is alive and well, I give you my word." - Said her husband and, for some reason, I believed him. He sounded sincere.
"Then why can't I see her?"
"You can, once Dr. Milton arrives. Is that too much to ask? He will be here in less than half an hour. Edward already apprised him of the situation last night."
"Last night?" - I felt confused - "What situation? And who's Dr. Milton?"
He got up and made to leave when I noticed that my makeup compact was gone.
"Where are my things? What have you done with my things?"
"They are in the next room. Dr. Milton will let you have them after he has made sure that they include nothing dangerous."
"Dangerous?" - I exploded - "Am I a prisoner here? I insist to use the phone! I am going to call the police right now!"
"Please, for your own good, don't exit the room." - Said my uninvited visitor - "I have covered the mirrors here and have removed your make up pouch but I can't well take care of all the reflecting surfaces: windows and such."
"Mirrors? What are you going about? You need professional help. I am a therapist. Won't you tell me what the problem is? What have you done to Isabel? Are you afraid to look at yourself in the mirror? Are you terrified of what you might see there? Have you killed her? Are you tormented by guilt?" - It wasn't very professional behavior but I decided that I had nothing to lose by abrogating the therapeutic protocol. Clearly, I was being held hostage by a gang of killers or a murderous cult.
"Isabel." - Said a familiar voice from across the threshold.
"Thank God you have arrived!" - Cried Isabel's husband - "She is having one of her attacks."
Into the chamber came Milton, clay pipe, eternal dungarees and all. He was accompanied by a young woman that looked startlingly familiar. She glanced at me from across the room. She smiled. She appeared to be friendly, so I reciprocated, hesitantly.
Milton said:
"I hope you don't mind that I have asked your therapist to join me. She told me everything about last night. You invited her here as your guest, you remember?"
I didn't remember anything of the sort. Still, I appraised my "therapist" more attentively. She was a mousy, inconsequential thing with an excruciatingly bad sartorial taste. She stared at me through a pair of dead, black, enormous pools that passed for eyes. Her hands were sinewy and contorted and she kept fidgeting, clasping and unclasping my makeup purse, and rearranging a stray curl that kept obscuring her view.
***END OF THE PROJECT GUTENBERG EBOOK THE CAPGRAS SHIFT***
******* This file should be named 24109-h.txt or 24109-h.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/4/1/0/24109
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://www.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. This particular work is one of the few copyrighted individual works included with the permission of the copyright holder. Information on the copyright owner for this particular work and the terms of use imposed by the copyright holder on this work are set forth at the beginning of this work. 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. Each eBook is in a subdirectory of the same number as the eBook's eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others. Corrected EDITIONS of our eBooks replace the old file and take over the old filename and etext number. The replaced older file is renamed. VERSIONS based on separate sources are treated as new eBooks receiving new filenames and etext numbers. 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. EBooks posted prior to November 2003, with eBook numbers BELOW #10000, are filed in directories based on their release date. If you want to download any of these eBooks directly, rather than using the regular search system you may utilize the following addresses and just download by the etext year. http://www.ibiblio.org/gutenberg/etext06 (Or /etext 05, 04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) EBooks posted since November 2003, with etext numbers OVER #10000, are filed in a different way. The year of a release date is no longer part of the directory path. The path is based on the etext number (which is identical to the filename). The path to the file is made up of single digits corresponding to all but the last digit in the filename. For example an eBook of filename 10234 would be found at: http://www.gutenberg.org/1/0/2/3/10234 or filename 24689 would be found at: http://www.gutenberg.org/2/4/6/8/24689 An alternative method of locating eBooks: http://www.gutenberg.org/GUTINDEX.ALL *** END: FULL LICENSE ***