JESUS CURED MY HERPES By Peter Darbyshire AFTER I GOT KICKED OUT of The Code, I started driving out to the airport at night to watch the planes take off. I'd find an empty side street and sit on the hood of my car for hours. Sometimes the planes passed right over me, so low I could almost touch them. You could watch them for several minutes before they disappeared into the clouds overhead. There were always clouds over the airport. There were other people out there who watched the planes, too. Most just parked on the street like me, but there was one group of men that met in front of a twenty-four hour garage. They were always there whenever I drove past, no matter what time of night. Five or six of them sitting in a circle of lawn chairs at the edge of the garage's parking lot, staring up at the sky and drinking beer from cans. Once, I parked behind their row of trucks and wandered over to the edge of their circle. "Mind if I join you?" I asked. They all looked at me for a moment and then made noises like this was okay with them. One of them reached into a cooler at his feet and pulled out a beer, tossed it to me. They didn't say anything at all as they waited for the next plane to pass, just kept staring up at the empty sky. I looked over at the garage. The doors were open, and inside I could see two men in grease-stained overalls bent over the engine of a car. One man would touch a part of the engine and shake his head, then the other man would do the same with another part of the engine. In the doorway of the garage, a woman was talking on a cell phone. "You don't understand," I heard her say, "I'm stuck here. I can't go anywhere." A plane passed a couple of hundred feet over us just then. Over the noise of its engines, the man beside me shouted, "DC-10. Series 10. General Electric CF6-6 engines. 40,000 pounds takeoff thrust. Two hundred and fifty passengers, three cockpit crew. First flight made in 1970." The other men nodded and lifted their beer cans to their lips. Nobody said anything else until the next plane came. Then the man next to the first one who had spoken said, "737. 800 model. General Electric CFM56-7B engines. 27,300 pounds thrust. 189 passengers. First launched in 1965." They all nodded again and drank some more. One of the mechanics got behind the wheel of the car and tried to start it up. The engine turned over and over but didn't catch. The other mechanic looked at the woman and shook his head. "I don't even know where I am," she shouted into her phone. The men went around the circle until it was my turn. When the next plane passed overhead, they all looked at me. I looked up at the plane. "United Airlines," I said. "Probably going to New York." They kept staring at me until the next plane came, but even then they didn't say anything. They didn't speak again the whole time I was there, and they didn't offer me another beer after I finished the first one. In the garage, one of the mechanics closed the hood of the car. The other one went over to a coffeemaker in the corner and poured himself a cup. The woman put her cell phone in her purse and looked up and down the street. Then she went over to the car and sat behind the wheel, started turning over the engine herself. It made a slow grinding noise, like the engine was tearing itself apart underneath the hood. I could hear it all the way back to my car. AND ONCE I SAW a plane struck by lightning. It was only a hundred feet or so off the ground when the lightning hit it, so quickly that all I really saw was the afterimage. There were two bolts - one came down from the clouds, while the other rose up from the wet ground - and they met somewhere in the fuselage. I couldn't see anything but white for a moment because of the lightning, but I felt the vibration from the thunder where I sat on the car. I waited for the plane to fall from the sky but it didn't. Instead, it kept on rising into the sky, until it disappeared in the clouds. It was as if the lightning had never happened, or I had imagined it. For a moment I thought that perhaps everyone on board was dead, that the lightning had electrocuted them all in their seats, and that the plane was flying on its own now. I had a vision of it continuing to rise up into the sky, perhaps all the way out of the atmosphere and into orbit, everyone inside melted into their seats. When I went home later that night, I turned on the television and watched for any stories about the plane. There was nothing, though, just a few brief sound bites about the salvage operation of a different plane that had gone down in the ocean a few days earlier. Nothing at all about any planes being struck by lightning. It was as if I were the only person in the world who even knew it had happened. ANOTHER TIME I STOPPED at a twenty-four-hour coffee shop by the airport. It was surrounded by overgrown grass fields, and empty coffee cups and plastic bags filled the ditches at the side of the road. There was a tractor trailer with a cargo of live cows in the parking lot. A couple of them turned their heads to look at me through the slats of the trailer as I went inside, but the others just kept on staring at each other. The driver of the truck was inside, looking at a road map spread out across the counter. He was following lines on it with a yellowed finger and shaking his head. "I just have no idea how I got here," he kept saying to the woman behind the counter, who wasn't paying him any attention at all. I sat down with a coffee by the window, where I could still see the lights of the planes taking off from one of the runways. Every now and then one of the cows outside made a long, low noise, like the sound of a car horn slowed down. The truck driver pushed his hat around on his head each time he heard the noise, but he didn't look up from the map. After a while, two women and a man all wearing the same kind of T-shirt came in. The T-shirt was black with the word BLESSING in red across their breasts. I watched their reflections in the glass as they went up to the counter. "Last night I started shaking all over in bed," one of the women was saying. "It went on for ten minutes. I know because I was looking right at the clock the whole time. But I couldn't stop it." "I had that electrical feeling myself," the other woman said. "You know, all the hair on my body was standing on end." "It was like someone else had taken me over." "It actually gave my cat a shock when he came over to see what was going on. He ran into the other room and wouldn't come near me all day today." "I never felt a thing," the man said. "Haven't for a long time." He was going bald, and the whole time they were in there he kept pushing the hair he had over the bald spot. "Stanley tried to climb on top of me during the middle of it," the first woman said, shaking her head. "He pretended he was in a rapture and couldn't control himself." "That man," the other woman laughed. The first woman bought an eclair and bit off one end, began sucking the cream out from inside. "But don't you worry," she said through a mouthful of cream, "I put a stop to that soon enough." "I'd like to feel it again," the man said, frowning into his coffee. "Just one more time." Both women laid their hands on him. "Maybe tonight." "Yes, maybe tonight." "Maybe," the man said, but he kept on staring into his coffee. "Jesus Christ," the truck driver said, slamming his hand down on the map. "This doesn't make any sense at all." He stared out at his truck and sighed. The people in the T-shirts looked away from him and didn't say anything else until they were on their way out. One of the women stopped at my table and bent over me. "I saw you watching us," she said. "I wasn't," I told her. "Would you like to talk about God?" she asked me. "I don't think so," I said. "Well, would you like to see him then?" I WENT OUT with them to their car. The cows were pushing against each other in the back of the truck now, rocking the trailer from side to side. The woman who'd spoken to me said, "They feel it too." "Feel what?" I asked. "You'll see," she said, and for some reason the others laughed. I left my car in the lot and got in the back of theirs, along with the man, who introduced himself as Hank. The woman who'd talked to me first said her name was Helen. The other woman, the driver, never introduced herself at all. We went about a mile or so down the street, to a building that looked as if it had once been a warehouse, or maybe a factory. The parking lot was already full of cars, and the front doors of the place were wide open, lighting up a crowd of people standing outside. "Looks like the non-believers are out again tonight," Hank said. "Atheists?" I asked, looking at the crowd. They held signs in their hands and were shouting at everyone that went inside. "Oh no, they're Christians," he said. "I thought you were the Christians." "We are," he said. "I don't understand," I told him. "They're just jealous," Helen said from the front seat. "The Lord doesn't touch them like he touches us." "I'm not so sure about this," I told them, but I got out of the car and followed them to the building anyway. The people outside all wore the same kind of T-shirt, too, but this one was white with a red cross on the front. Other than that, these people didn't look any different from the people I was with. Their signs said things like JESUS DIED FOR YOUR SINS, NOT YOUR SEX and GOD DOESN'T BARK. "Satan!" they shouted at us as we approached. "Satan! Satan! Satan!" And one of them, a woman who looked a little like my dead grandmother, sprayed me with a Windex bottle. "Hey hey hey," I said, but Hank took me by the arm and guided me through the doors. "Don't worry about it," he said. "It's only holy water." "Do that again and I'll press charges," I shouted back at her over my shoulder. The inside of the building was a large room filled with folding metal chairs. They were spread out in loose rows, with plenty of room between the rows and with a large aisle running down the middle of the room. The aisle ended in a large open area on the other side of the room, over which a giant wooden crucifix and carved Christ hung from the wall. Christ's body was all contorted, like he was having a seizure, and he looked like he was laughing or screaming, I couldn't tell which. We sat at the back of the room, because most of the seats were already taken. There were other people wearing the BLESSING T-shirt here, but most were dressed in normal clothes or what I imagined passed for normal clothes with this crowd. Everyone was smiling and talking to the people around them. It looked like the sort of religious rally you see on television, but I'd always thought those things were staged. "Good turnout," said the woman whose name I still didn't know. "God must have called a lot of people." "It's going to be a special night," Helen said, nodding her head. Hank didn't say anything at all, just stared at the Christ hanging over the stage. After some time, a couple of the men in the audience got up and closed the doors. I heard one last "Satan!" from outside. Everyone seemed to stop talking and look at the Christ at the same time. I could hear my own breathing, my heartbeat in my ears. Then the women around me began murmuring softly, too low for me to catch the words. Soon everyone in the crowd seemed to be talking softly to themselves, even Hank - everyone but me, that is. I kept waiting for something else to happen. I was getting hungry. Then a woman stood up in the middle of the room, knocking her chair to the ground. "Jesus cured my herpes!" she shrieked. She pushed her way to the end of her row and ran down the aisle. Once she was underneath the Christ on the wall, she fell to the ground and started rolling around on the carpet, still shrieking the same words over and over. "Jesus cured my herpes! Jesus cured my herpes!" I looked around the room, but nobody else seemed to be paying much attention to this. A pair of older ladies near me were even smiling and nodding at the woman rolling around on the ground. A man in a suit near the front stood up and shouted, "Jesus turned my cavities into gold teeth!" He fell to his knees and started kissing the carpet. There were murmurs of "Hallelujah" and "Amen" from the crowd. A few rows in front of us, another man, this one in a post-office uniform, stood up and started weeping loudly. "I think I'm going to leave," I said, but Hank put his hand on my leg. "Not yet," he said. "Not until you feel it." "Feel what?" I asked. "Just wait," he said. He didn't take his hand off my leg. The murmuring in the crowd grew louder, and now I could hear some of what the people around me were saying. "Please, God, take me," a woman sitting directly in front of me whispered. "Just one more year," a man a few chairs down said. "Make it stop eating me," someone behind me said. Then, as if on cue, a dozen or so people scattered around the room all stood up at once and began shrieking gibberish at the people around them. They acted as if they were saying things that made sense, but I couldn't understand a word of it. The entire front row of people fell to the floor and started convulsing there, as if they were all having simultaneous fits. I watched it spread through the crowd, like some sort of virus. People ran hollering to the front of the room, where they fell to the ground and barked like dogs. Others writhed up and down the aisle like snakes. A man tore open his shirt, and the woman sitting beside him began kissing his breast, pecking at it like a bird. The air filled with screams and cries and hysterical laughter. Beside me, Helen began laughing and fell to the floor. She caught hold of one of my pant legs with a hand and tried to pull me down after her, but I hung on to the chair. A few seconds later, Hank slowly slid off his chair, then started shaking and convulsing on the ground. His hand was still on my other leg, stroking up and down it. I kept pushing it away, but he kept putting it back. All around us, people were falling to the floor, touching each other all over, screaming hysterically. Then the woman whose name I didn't know laid her hands on either side of my head and kissed me on the lips. I could taste the cream from the eclair, could smell her perfume. I went to push her away, but it was too late. It was as if someone else had taken control of my body. I fell to the floor and felt myself shaking, flopping around like I'd been Tazered. My hands were everywhere on Helen and Hank's bodies, their hands everywhere on mine. The woman whose name I didn't know crowed like a rooster. I tried to scream but could only manage a long sigh. My whole body was burning. Later, when I was away from that place and back in my car, I passed off what happened there as some sort of crowd hysteria. I'd read about that sort of thing before, how a few people in a crowd could cause everyone else to act the same way. It wasn't God, I decided, but some sort of psychological thing. Or maybe some sort of chemical pumped in through the air vents. Whichever. The important thing was it didn't last. At some point during the night - it could have been hours or minutes after I fell to the floor, I couldn't tell - the protestors from outside opened the doors and ran in. They started spraying the people closest to the doors with their Windex bottles, all the while shouting, "Get thee hence, Satan!" and "In the name of God I evict thee!" None of the holy water actually reached me, but once the doors to outside were open, I suddenly had control of my body again. I got up and ran for the doors. Hank reached after me, howling, but I kicked him away. A protestor waved a sign at me - something about one of the passages in Luke - and I pushed her to the ground, stumbled outside. It was raining out now, but I didn't care. I kept running, through the parking lot and down the road, back to the coffee shop. Once a car came from the direction of the church or whatever it was, and I hid in the grass at the side of the road, burying myself in the plastic bags there. For a while, I could still hear screams and laughter from behind me, even through the rain. My body was still burning from whatever it was that had happened in the church, but it faded a little more with the sound of each plane that passed overhead. I never felt that way again in my life. I SAW THE FIRST of the cows about fifty feet or so from the coffee shop. It was lying in the middle of the road, bellowing loudly. All four of its legs looked to be broken. It swung its head wildly at me, so I walked along the shoulder until I was past it. There were two more in the coffee shop's parking lot. One lay just at the entrance to the drive-through. It was dead, its neck broken, head twisted around to lie along the top of its own spine. The other one was lying on the ground behind my car. There didn't seem to be anything wrong with it - it turned its head to look at me as I walked up - but it was blocking my way out of there. The truck that had been carrying the cows was parked about a hundred feet away from the coffee shop. The back door of the trailer hung brokenly from its hinges, and I could see it was empty inside now. The cows were everywhere, more lying on the asphalt, others wandering up and down the road or grazing on the grass at the side. The truck driver was standing by the rear of his truck and talking to the woman from the coffee shop as I walked up. "It's the damnedest thing I ever saw," he said, running his hand over the broken door. "They just started going crazy in there. For a moment, I thought they were going to tip the trailer. But then they busted out the back." He pushed his cap up and down on his head. "Bolt in the door must have rusted right through." "Well, you can't just leave them here," the woman said. "It's bad for business." "That's right," I said. "One of those cows is blocking my car." We all watched one of the cows piss on the road for a moment, and then the woman said, "You'll have to round them up." "And how am I supposed to do that?" the truck driver said. "Without getting trampled to death, that is." "How'd you get them in the first time?" she asked. "That's not my job," he said, shaking his head. "They've got special places for that." "We could herd them with my car," I said, "if we can move the cow behind it." They both looked at me for a moment, and then the truck driver said, "No, there's a very definite policy for moments like this." He went up to the cab of the truck and came back with a rifle. "How'd you like to make fifty bucks?" he asked me. "That all depends," I said. He waited until a plane was passing overhead, then shot the cow that had pissed on the road. It fell to the ground without making a noise and shook there for a moment. Several of the grazing cows looked over their shoulders at us and then moved a few feet deeper into the grass. For some reason, steam was rising from their hides now. "I'm going to need help dragging them back into the truck," he said, chambering another round. "I can't move them on my own." "I don't know," I said. "Make it a hundred then," he said. "But that's all I've got on me." "I'm going back inside," the woman said. "I've got to make fresh coffee." "I could sure use another coffee now," the truck driver said. Another plane passed over us, and he shot one of the cows lying on the road. This one had a single broken leg. It tried to get up as the driver approached but it couldn't stand. Its eyes rolled wildly as he put the gun against its head and pulled the trigger. He'd killed three more cows by the time the woman came out with coffee for each of us. "It's fresh," she said, "and on the house." She looked around at the dead cows and shook her head. "Given the circumstances and all." We stood there for a moment, blowing steam from our coffee. Then the truck driver sighed. "I'm never going to make that deadline now." He shot one of the grazing cows square in the head, but this one didn't go down. I saw bone chips fly off into the gravel at the side of the road, and blood sprayed as far as my shoes, but the cow just shook its head and stared at the truck driver. "God's looking out for that one," the woman said. The trucker lifted his cap off and then settled it back on his head. I saw that he was bald underneath. He fired another shot into the cow's head, and more blood and bone chips flew. The cow staggered this time but still didn't go down. It started running down the road. And now the surviving cows started after it, bellowing at us as they passed. Even the one that had been lying behind my car got up and went with them. The truck driver aimed at the wounded cow once more, but this time his gun jammed. He worked at it for a moment, then swore and threw the gun to the ground. I was half expecting it to go off, but it never did. "That was almost miraculous," the woman said. When the truck driver looked at her, she added, "For the cow, I mean." "That wasn't anything but a jammed round," the driver said. We watched the cows go down the road, leaving a trail of blood behind them. About two or three hundred feet down, they suddenly swerved into the field, heading towards the airport's lights. Even from this distance, we could see the cloud of steam rising from their hides. "Well, if it wasn't a miracle," the woman said, "then I think it's as close as we're going to get." (c) Peter Darbyshire This work is available for free under a Creative Commons licence, which allows you to copy it and pass it along providing it's not for commercial purposes and providing my name appears on all copies. Full license details can be found online at: http://creativecommons.org/licenses/by-nc-nd/3.0/ Here's the license summary: You are free: * to Share - to copy, distribute and transmit the work Under the following conditions: * Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). * Noncommercial. You may not use this work for commercial purposes. * No Derivative Works. You may not alter, transform, or build upon this work. * * For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page. * Any of the above conditions can be waived if you get permission from the copyright holder. * Nothing in this license impairs or restricts the author's moral rights. Here's the full license: THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVE COMMONS PUBLIC LICENSE ("CCPL" OR "LICENSE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THIS LICENSE OR COPYRIGHT LAW IS PROHIBITED. BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. TO THE EXTENT THIS LICENSE MAY BE CONSIDERED TO BE A CONTRACT, THE LICENSOR GRANTS YOU THE RIGHTS CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS. 1. Definitions 1. "Adaptation" means a work based upon the Work, or upon the Work and other pre-existing works, such as a translation, adaptation, derivative work, arrangement of music or other alterations of a literary or artistic work, or phonogram or performance and includes cinematographic adaptations or any other form in which the Work may be recast, transformed, or adapted including in any form recognizably derived from the original, except that a work that constitutes a Collection will not be considered an Adaptation for the purpose of this License. For the avoidance of doubt, where the Work is a musical work, performance or phonogram, the synchronization of the Work in timed-relation with a moving image ("synching") will be considered an Adaptation for the purpose of this License. 2. "Collection" means a collection of literary or artistic works, such as encyclopedias and anthologies, or performances, phonograms or broadcasts, or other works or subject matter other than works listed in Section 1(f) below, which, by reason of the selection and arrangement of their contents, constitute intellectual creations, in which the Work is included in its entirety in unmodified form along with one or more other contributions, each constituting separate and independent works in themselves, which together are assembled into a collective whole. A work that constitutes a Collection will not be considered an Adaptation (as defined above) for the purposes of this License. 3. "Distribute" means to make available to the public the original and copies of the Work through sale or other transfer of ownership. 4. "Licensor" means the individual, individuals, entity or entities that offer(s) the Work under the terms of this License. 5. "Original Author" means, in the case of a literary or artistic work, the individual, individuals, entity or entities who created the Work or if no individual or entity can be identified, the publisher; and in addition (i) in the case of a performance the actors, singers, musicians, dancers, and other persons who act, sing, deliver, declaim, play in, interpret or otherwise perform literary or artistic works or expressions of folklore; (ii) in the case of a phonogram the producer being the person or legal entity who first fixes the sounds of a performance or other sounds; and, (iii) in the case of broadcasts, the organization that transmits the broadcast. 6. "Work" means the literary and/or artistic work offered under the terms of this License including without limitation any production in the literary, scientific and artistic domain, whatever may be the mode or form of its expression including digital form, such as a book, pamphlet and other writing; a lecture, address, sermon or other work of the same nature; a dramatic or dramatico-musical work; a choreographic work or entertainment in dumb show; a musical composition with or without words; a cinematographic work to which are assimilated works expressed by a process analogous to cinematography; a work of drawing, painting, architecture, sculpture, engraving or lithography; a photographic work to which are assimilated works expressed by a process analogous to photography; a work of applied art; an illustration, map, plan, sketch or three-dimensional work relative to geography, topography, architecture or science; a performance; a broadcast; a phonogram; a compilation of data to the extent it is protected as a copyrightable work; or a work performed by a variety or circus performer to the extent it is not otherwise considered a literary or artistic work. 7. "You" means an individual or entity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under this License despite a previous violation. 8. "Publicly Perform" means to perform public recitations of the Work and to communicate to the public those public recitations, by any means or process, including by wire or wireless means or public digital performances; to make available to the public Works in such a way that members of the public may access these Works from a place and at a place individually chosen by them; to perform the Work to the public by any means or process and the communication to the public of the performances of the Work, including by public digital performance; to broadcast and rebroadcast the Work by any means including signs, sounds or images. 9. "Reproduce" means to make copies of the Work by any means including without limitation by sound or visual recordings and the right of fixation and reproducing fixations of the Work, including storage of a protected performance or phonogram in digital form or other electronic medium. 2. Fair Dealing Rights. Nothing in this License is intended to reduce, limit, or restrict any uses free from copyright or rights arising from limitations or exceptions that are provided for in connection with the copyright protection under copyright law or other applicable laws. 3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright) license to exercise the rights in the Work as stated below: 1. to Reproduce the Work, to incorporate the Work into one or more Collections, and to Reproduce the Work as incorporated in the Collections; and, 2. to Distribute and Publicly Perform the Work including as incorporated in Collections. The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other media and formats, but otherwise you have no rights to make Adaptations. Subject to 8(f), all rights not expressly granted by Licensor are hereby reserved, including but not limited to the rights set forth in Section 4(d). 4. Restrictions. The license granted in Section 3 above is expressly made subject to and limited by the following restrictions: 1. You may Distribute or Publicly Perform the Work only under the terms of this License. You must include a copy of, or the Uniform Resource Identifier (URI) for, this License with every copy of the Work You Distribute or Publicly Perform. You may not offer or impose any terms on the Work that restrict the terms of this License or the ability of the recipient of the Work to exercise the rights granted to that recipient under the terms of the License. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties with every copy of the Work You Distribute or Publicly Perform. When You Distribute or Publicly Perform the Work, You may not impose any effective technological measures on the Work that restrict the ability of a recipient of the Work from You to exercise the rights granted to that recipient under the terms of the License. This Section 4(a) applies to the Work as incorporated in a Collection, but this does not require the Collection apart from the Work itself to be made subject to the terms of this License. If You create a Collection, upon notice from any Licensor You must, to the extent practicable, remove from the Collection any credit as required by Section 4(c), as requested. 2. You may not exercise any of the rights granted to You in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means of digital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation in connection with the exchange of copyrighted works. 3. If You Distribute, or Publicly Perform the Work or Collections, You must, unless a request has been made pursuant to Section 4(a), keep intact all copyright notices for the Work and provide, reasonable to the medium or means You are utilizing: (i) the name of the Original Author (or pseudonym, if applicable) if supplied, and/or if the Original Author and/or Licensor designate another party or parties (e.g., a sponsor institute, publishing entity, journal) for attribution ("Attribution Parties") in Licensor's copyright notice, terms of service or by other reasonable means, the name of such party or parties; (ii) the title of the Work if supplied; (iii) to the extent reasonably practicable, the URI, if any, that Licensor specifies to be associated with the Work, unless such URI does not refer to the copyright notice or licensing information for the Work. The credit required by this Section 4(c) may be implemented in any reasonable manner; provided, however, that in the case of a Collection, at a minimum such credit will appear, if a credit for all contributing authors of Collection appears, then as part of these credits and in a manner at least as prominent as the credits for the other contributing authors. For the avoidance of doubt, You may only use the credit required by this Section for the purpose of attribution in the manner set out above and, by exercising Your rights under this License, You may not implicitly or explicitly assert or imply any connection with, sponsorship or endorsement by the Original Author, Licensor and/or Attribution Parties, as appropriate, of You or Your use of the Work, without the separate, express prior written permission of the Original Author, Licensor and/or Attribution Parties. 4. For the avoidance of doubt: 1. Non-waivable Compulsory License Schemes. In those jurisdictions in which the right to collect royalties through any statutory or compulsory licensing scheme cannot be waived, the Licensor reserves the exclusive right to collect such royalties for any exercise by You of the rights granted under this License; 2. Waivable Compulsory License Schemes. In those jurisdictions in which the right to collect royalties through any statutory or compulsory licensing scheme can be waived, the Licensor reserves the exclusive right to collect such royalties for any exercise by You of the rights granted under this License if Your exercise of such rights is for a purpose or use which is otherwise than noncommercial as permitted under Section 4(b) and otherwise waives the right to collect royalties through any statutory or compulsory licensing scheme; and, 3. Voluntary License Schemes. The Licensor reserves the right to collect royalties, whether individually or, in the event that the Licensor is a member of a collecting society that administers voluntary licensing schemes, via that society, from any exercise by You of the rights granted under this License that is for a purpose or use which is otherwise than noncommercial as permitted under Section 4(b). 5. Except as otherwise agreed in writing by the Licensor or as may be otherwise permitted by applicable law, if You Reproduce, Distribute or Publicly Perform the Work either by itself or as part of any Collections, You must not distort, mutilate, modify or take other derogatory action in relation to the Work which would be prejudicial to the Original Author's honor or reputation. 5. Representations, Warranties and Disclaimer UNLESS OTHERWISE MUTUALLY AGREED BY THE PARTIES IN WRITING, LICENSOR OFFERS THE WORK AS-IS AND MAKES NO REPRESENTATIONS OR WARRANTIES OF ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE, INCLUDING, WITHOUT LIMITATION, WARRANTIES OF TITLE, MERCHANTIBILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, OR THE ABSENCE OF LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS, WHETHER OR NOT DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO SUCH EXCLUSION MAY NOT APPLY TO YOU. 6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 7. Termination 1. This License and the rights granted hereunder will terminate automatically upon any breach by You of the terms of this License. Individuals or entities who have received Collections from You under this License, however, will not have their licenses terminated provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of this License. 2. Subject to the above terms and conditions, the license granted here is perpetual (for the duration of the applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributing the Work at any time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, granted under the terms of this License), and this License will continue in full force and effect unless terminated as stated above. 8. Miscellaneous 1. Each time You Distribute or Publicly Perform the Work or a Collection, the Licensor offers to the recipient a license to the Work on the same terms and conditions as the license granted to You under this License. 2. If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity or enforceability of the remainder of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum extent necessary to make such provision valid and enforceable. 3. No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and signed by the party to be charged with such waiver or consent. 4. This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, agreements or representations with respect to the Work not specified here. Licensor shall not be bound by any additional provisions that may appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor and You. 5. The rights granted under, and the subject matter referenced, in this License were drafted utilizing the terminology of the Berne Convention for the Protection of Literary and Artistic Works (as amended on September 28, 1979), the Rome Convention of 1961, the WIPO Copyright Treaty of 1996, the WIPO Performances and Phonograms Treaty of 1996 and the Universal Copyright Convention (as revised on July 24, 1971). These rights and subject matter take effect in the relevant jurisdiction in which the License terms are sought to be enforced according to the corresponding provisions of the implementation of those treaty provisions in the applicable national law. If the standard suite of rights granted under applicable copyright law includes additional rights not granted under this License, such additional rights are deemed to be included in the License; this License is not intended to restrict the license of any rights under applicable law. Creative Commons Notice Creative Commons is not a party to this License, and makes no warranty whatsoever in connection with the Work. Creative Commons will not be liable to You or any party on any legal theory for any damages whatsoever, including without limitation any general, special, incidental or consequential damages arising in connection to this license. Notwithstanding the foregoing two (2) sentences, if Creative Commons has expressly identified itself as the Licensor hereunder, it shall have all rights and obligations of Licensor. Except for the limited purpose of indicating to the public that the Work is licensed under the CCPL, Creative Commons does not authorize the use by either party of the trademark "Creative Commons" or any related trademark or logo of Creative Commons without the prior written consent of Creative Commons. Any permitted use will be in compliance with Creative Commons' then-current trademark usage guidelines, as may be published on its website or otherwise made available upon request from time to time. For the avoidance of doubt, this trademark restriction does not form part of this License. Creative Commons may be contacted at http://creativecommons.org/.