The Project Gutenberg EBook of The Girls from Fieu Dayol, by Robert F. Young

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/license


Title: The Girls from Fieu Dayol

Author: Robert F. Young

Release Date: December 30, 2019 [EBook #61048]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRLS FROM FIEU DAYOL ***




Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at http://www.pgdp.net

Up until the moment when he first looked into Hippolyte Adolphe Taine's History of English Literature, Herbert Quidley's penchant for old books had netted him nothing in the way of romance and intrigue. Not that he was a stranger to either. Far from it. But hitherto the background for both had been bedrooms and bars, not libraries.

On page 21 of the Taine tome he happened upon a sheet of yellow copy paper folded in four. Unfolding it, he read:

Since when, Quidley wondered, refolding the paper and putting it back in the book, had high-school typing students taken to reading Taine? Thoughtfully he replaced the book on the shelf and moved deeper into the literature section.

He had just taken down Xenophon's Anabasis when he saw the girl walk in the door.

Let it be said forthwith that old books were not the only item on Herbert Quidley's penchant-list. He liked old wood, too, and old paintings, not to mention old wine and old whiskey. But most of all he liked young girls. He especially liked them when they looked the way Helen of Troy must have looked when Paris took one gander at her and started building his ladder. This one was tall, with hyacinth hair and liquid blue eyes, and she had a Grecian symmetry of shape that would have made Paris' eyes pop had he been around to take notice. Paris wasn't, but Quidley's eyes, did the job.

After coming in the door, the girl deposited a book on the librarian's desk and headed for the literature section. Quickly Quidley lowered his eyes to the Anabasis and henceforth followed her progress out of their corners. When she came to the O's she paused, took down a book and glanced through it. Then she replaced it and moved on to the P's ... the Q's ... the R's. Barely three feet from him she paused again and took down Taine's History of English Literature.

He simply could not believe it. The odds against two persons taking an interest in so esoteric a volume on a single night in a single library were ten thousand to one. And yet there was no gainsaying that the volume was in the girl's hands, and that she was riffling through it with the air of a seasoned browser.

Presently she returned the book to the shelf, selected another—seemingly at random—and took it over to the librarian's desk. She waited statuesquely while the librarian processed it, then tucked it under her arm and whisked out the door into the misty April night. As soon as she disappeared, Quidley stepped over to the T's and took Taine down once more. Just as he had suspected. The makeshift bookmark was gone.

He remembered how the asdf-;lkj exercise had given way to several lines of gibberish and then reappeared again. A camouflaged message? Or was it merely what it appeared to be on the surface—the efforts of an impatient typing student to type before his time?

He returned Taine to the shelf. After learning from the librarian that the girl's name was Kay Smith, he went out and got in his hardtop. The name rang a bell. Halfway home he realized why. The typing exercise had contained the word "Cai", and if you pronounced it with hard c, you got "Kai"—or "Kay". Obviously, then, the exercise had been a message, and had been deliberately inserted in a book no average person would dream of borrowing.

By whom—her boy friend?

Quidley winced. He was allergic to the term. Not that he ever let the presence of a boy friend deter him when he set out to conquer, but because the term itself brought to mind the word "fiance," and the word "fiance" brought to mind still another word, one which repelled him violently. I.e., "marriage". Just the same, he decided to keep Taine's History under observation for a while.

Her boy friend turned out to be her girl friend, and her girl friend turned out to be a tall and lissome, lovely with a Helenesque air of her own. From the vantage point of a strategically located reading table, where he was keeping company with his favorite little magazine, The Zeitgeist, Quidley watched her take a seemingly haphazard route to the shelf where Taine's History reposed, take the volume down, surreptitiously slip a folded sheet of yellow paper between its pages and return it to the shelf.

After she left he wasted no time in acquainting himself with the second message. It was as unintelligible as the first:

Well, perhaps not quite as unintelligible. He knew, at least, who Cai was, and he knew—from the reappearance of the words wotnid, Fieu Dayol and snoll doper—that the two communications were in the same code. And certainly it was reasonable to assume that the last word—Yoolna—was the name of the girl he had just seen, and that she was a different person from the Klio whose name had appended the first message.

He refolded the paper, replaced it between the pages, returned the book to the shelf and went back to the reading table and The Zeitgeist.

Kay didn't show up till almost closing time, and he was beginning to think that perhaps she wouldn't come around for the pickup till tomorrow when she finally walked in the door. She employed the same tactics she had employed the previous night, arriving, as though by chance, at the T-section and transferring the message with the same undetectable legerdemain to her purse. This time, when she walked out the door, he was not far behind her.

She climbed into a sleek convertible and pulled into the street. It took him but a moment to gain his hardtop and start out after her. When, several blocks later, she pulled to the curb in front of an all-night coffee bar, he followed suit. After that, it was merely a matter of following her inside.

He decided on Operation Spill-the-sugar. It had stood him in good stead before, and he was rather fond of it. The procedure was quite simple. First you took note of the position of the sugar dispensers, then you situated yourself so that your intended victim was between you and the nearest one, then you ordered coffee without sugar in a low voice, and after the counterman or countergirl had served you, you waited till he/she was out of earshot and asked your i.v. to please pass the sugar. When she did so you let the dispenser slip from your fingers in such a way that some of its contents spilled on her lap—

"I'm terribly sorry," he said, righting it. "Here, let me brush it off."

"It's all right, it's only sugar," she said, laughing.

"I'm hopelessly clumsy," he continued smoothly, brushing the gleaming crystals from her pleated skirt, noting the clean sweep of her thighs. "I beseech you to forgive me."

"You're forgiven," she said, and he noticed then that she spoke with a slight accent.

"If you like, you can send it to the cleaners and have them send the bill to me. My address is 61 Park Place." He pulled out his wallet, chose an appropriate card, and handed it to her—

Herbert Quidley: Profiliste

Her forehead crinkled. "Profiliste?"

"I paint profiles with words," he said. "You may have run across some of my pieces in the Better Magazines. I employ a variety of pseudonyms, of course."

"How interesting." She pronounced it "anteresting."

"Not famous profiles, you understand. Just profiles that strike my fancy." He paused. She had raised her cup to her lips and was taking a dainty sip. "You have a rather striking profile yourself, Miss—"

"Smith. Kay Smith." She set the cup back on the counter and turned and faced him. For a second her eyes seemed to expand till they preoccupied his entire vision, till he could see nothing but their disturbingly clear—and suddenly cold—blueness. Panic touched him, then vanished when she said, "Would you really consider word-painting my profile, Mr. Quidley?"

Would he! "When can I call?"

She hesitated for a moment. Then: "I think it will be better if I call on you. There are quite a number of people living in our—our house. I'm afraid the quarters would be much too cramped for an artist like yourself to concentrate."

Quidley glowed. Usually it required two or three days, and sometimes a week, to reach the apartment phase. "Fine," he said. "When can I expect you?"

She stood up and he got to his feet beside her. She was even taller than he had thought. In fact, if he hadn't been wearing Cuban heels, she'd have been taller than he was. "I'll be in town night after next," she said. "Will nine o'clock be convenient for you?"

"Perfectly."

"Good-by for now then, Mr. Quidley."

He was so elated that when he arrived at his apartment he actually did try to write a profile. His own, of course. He sat down at his custom-built chrome-trimmed desk, inserted a blank sheet of paper in his custom-built typewriter and tried to arrange his thoughts. But as usual his mind raced ahead of the moment, and he saw the title, Self Profile, nestling noticeably on the contents page of one of the Better Magazines, and presently he saw the piece itself in all its splendid array of colorful rhetoric, sparkling imagery and scintillating wit, occupying a two-page spread.

It was some time before he returned to reality, and when he did the first thing that met his eyes was the uncompromisingly blank sheet of paper. Hurriedly he typed out a letter to his father, requesting an advance on his allowance, then, after a tall glass of vintage wine, he went to bed.

In telling him that she would be in town two nights hence, Kay had unwittingly apprised him that there would be no exchange of messages until that time, so the next evening he skipped his vigil at the library. The following evening, however, after readying his apartment for the forthcoming assignation, he hied himself to his reading-table post and took up The Zeitgeist once again.

He had not thought it possible that there could be a third such woman.

And yet there she was, walking in the door, tall and blue-eyed and graceful; dark of hair and noble of mien; browsing in the philosophy section now, now the fiction section, now moving leisurely into the literature aisle and toward the T's....

The camouflage had varied, but the message was typical enough:

Judging from the repeated use of the words, snoll dopers were the topic of the day. Annoyed, Quidley replaced the message and put the book back on the shelf. Then he returned to his apartment to await Kay.

He wondered what her reaction would be if he asked her point-blank what a snoll doper was; whether she would reveal the nature of the amateur secret society to which she and Klio and Yoolna and Gorka belonged. It virtually had to be an amateur secret society. Unless, of course, they were foreigners. But what on earth foreign organization would be quixotic enough to employ Taine's History of English Literature as a communications medium when there was a telephone in every drugstore and a mailbox on every corner?

Somehow the words "what on earth foreign organization" got turned around in his mind and became "what foreign organization on earth" and before he could summon his common sense to succor him, he experienced a rather bad moment. By the time the door chimes sounded he was his normal self again.

He straightened his tie with nervous fingers, checked to see if his shirt cuffs protruded the proper length from his coat sleeves, and looked around the room to see if everything was in place. Everything was—the typewriter uncovered and centered on the chrome-trimmed desk, with the sheaf of crinkly first-sheets beside it; the reference books stacked imposingly nearby; Harper's, The Atlantic and The Saturday Review showing conspicuously in the magazine rack; the newly opened bottle of bourbon and the two snifter glasses on the sideboard; the small table set cozily for two—

The chimes sounded again. He opened the door.

She walked in with a demure, "Hello." He took her wrap. When he saw what she was wearing he had to tilt his head back so that his eyes wouldn't fall out of their sockets.

Skin, mostly, in the upper regions. White, glowing skin on which her long hair lay like forest pools. As for her dress, it was as though she had fallen forward into immaculate snow, half-burying her breasts before catching herself on her elbows, then turning into a sitting position, the snow clinging to her skin in a glistening veneer; arising finally to her feet, resplendently attired.

He went over to the sideboard, picked up the bottle of bourbon. She followed. He set the two snifter glasses side by side and tilted the bottle. "Say when." "When!" "I admire your dress—never saw anything quite like it." "Thank you. The material is something new. Feel it." "It's—it's almost like foam rubber. Cigarette?" "Thanks.... Is something wrong, Mr. Quidley?" "No, of course not. Why?" "Your hands are trembling." "Oh. I'm—I'm afraid it's the present company, Miss Smith." "Call me Kay."

They touched glasses: "Your liquor is as exquisite as your living room, Herbert. I shall have to come here more often." "I hope you will, Kay." "Though such conduct, I'm told, is morally reprehensible on the planet Earth." "Not in this particular circle. Your hair is lovely." "Thank you.... You haven't mentioned my perfume yet. Perhaps I'm standing too far away.... There!" "It's—it's as lovely as your hair, Kay." "Um, kiss me again." "I—I never figured—I mean, I engaged a caterer to serve us dinner at 9:30." "Call him up. Make it 10:30."

The following evening found Quidley on tenter-hooks. The snoll-doper mystery had acquired a new tang. He could hardly wait till the next message transfer took place.

He decided to spend the evening plotting the epic novel which he intended to write someday. He set to work immediately. He plotted mentally, of course—notes were for the hacks and the other commercial non-geniuses who infested the modern literary world. Closing his eyes, he saw the whole vivid panorama of epic action and grand adventure flowing like a mighty and majestic river before his literary vision: the authentic and awe-inspiring background; the hordes of colorful characters; the handsome virile hero, the compelling Helenesque heroine.... God, it was going to be great! The best thing he'd ever done! See, already there was a crowd of book lovers in front of the bookstore, staring into the window where the new Herbert Quidley was on display, trying to force its way into the jammed interior.... Cut to interior. FIRST EAGER CUSTOMER: Tell me quickly, are there any more copies of the new Herbert Quidley left? BOOK CLERK: A few. You don't know how lucky you are to get here before the first printing ran out. FIRST EAGER CUSTOMER: Give me a dozen. I want to make sure that my children and my children's children have a plentiful supply. BOOK CLERK: Sorry. Only one to a customer. Next? SECOND EAGER CUSTOMER: Tell me quickly, are ... there ... any ... more ... copies ... of—

ZZZZZZZZZZZZZ....

Message no. 4, except for a slight variation in camouflage, ran true to form:

Quidley sighed. What, he asked himself, standing in the library aisle and staring at the indecipherable words, was a normal girl like Kay doing in such a childish secret society? From the way she and her correspondents carried on you'd almost think they were Martian girl scouts on an interplanetary camping trip, trying for their merit badges in communications!

You could hardly call Kay a girl scout, though.

Nevertheless, she was the key figure in the snoll-doper enigma. The fact annoyed him, especially when he considered that a snoll doper, for all he knew, could be anything from a Chinese fortune cooky to an H-bomb.

He remembered Kay's odd accent. Was that the way a person would speak English if her own language ran something like "ist ifedereret, hid jestig snoll doper adwo?"

He remembered the way she had looked at him in the coffee bar.

He remembered the material of her dress.

He remembered how she had come to his room.

"I didn't know you had a taste for Taine."

Her voice seemed to come from far away, but she was standing right beside him, tall and bewitching; Helenesque as ever. Her blue eyes became great wells into which he found himself falling. With an effort, he pulled himself back. "You're early tonight," he said lamely.

She appropriated the message, read it. "Put the book back," she said presently. Then, when he complied: "Come on."

"Where are we going?"

"I'm going to deliver a snoll doper to Jilka. After that I'm going to take you home to meet my folks."

The relieved sigh he heard was his own.

They climbed into her convertible and she nosed it into the moving line of cars. "How long have you been reading my mail?" she asked.

"Since the night before I met you."

"Was that the reason you spilled the sugar?"

"Part of the reason," he said. "What's a snoll doper?"

She laughed. "I don't think I'd better tell you just yet."

He sighed again. "But if Jilka wanted a snoll doper," he said after a while, "why in the world didn't she call you up and say so?"

"Regulations." She pulled over to the curb in front of a brick apartment building. "This is where Jilka lives. I'll explain when I get back."

He watched her get out, walk up the walk to the entrance and let herself in. He leaned his head back on the seat, lit a cigarette and exhaled a mixture of smoke and relief. On the way to meet her folks. So it was just an ordinary secret society after all. And here he'd been thinking that she was the key figure in a Martian plot to blow up Earth—

Her folks!

Abruptly the full implication of the words got through to him, and he sat bolt-up-right on the seat. He was starting to climb out of the car when he saw Kay coming down the walk. Anyway, running away wouldn't solve his problem. A complete disappearing act was in order, and a complete disappearing act would take time. Meanwhile he would play along with her.

A station wagon came up behind them, slowed, and matched its speed with theirs. "Someone's following us," Quidley said.

"Probably Jilka."

Five minutes later the station wagon turned down a side street and disappeared. "She's no longer with us," Quidley said.

"She's got to pick someone up. She'll meet us later."

"At your folks'?"

"At the ship."

The city was thinning out around them now, and a few stars were visible in the night sky. Quidley watched them thoughtfully for a while. Then: "What ship?" he said.

"The one we're going to Fieu Dayol on."

"Fieu Dayol?"

"Persei 17 to you. I said I was going to take you home to meet my folks, didn't I?"

"In other words, you're kidnapping me."

She shook her head vehemently. "I most certainly am not! Neither according to interstellar law or your own. When you compromised me, you made yourself liable in the eyes of both."

"But why pick on me? There must be plenty of men on Fieu Dayol. Why don't you marry one of them?"

"For two reasons: one, you're the particular man who compromised me. Two, there are not plenty of men on Fieu Dayol. Our race is identical to yours in everything except population-balance between the sexes. At periodic intervals the women on Fieu Dayol so greatly outnumber the men that those of us who are temperamentally and emotionally unfitted to become spinsters have to look for wotnids—or mates—on other worlds. It's quite legal and quite respectable. As a matter of fact, we even have schools specializing in alien cultures to expedite our activities. Our biggest problem is the Interstellar statute forbidding us the use of local communications services and forbidding us to appear in public places. It was devised to facilitate the prosecution of interstellar black marketeers, but we're subject to it, too, and have to contrive communications systems of our own."

"But why were all the messages addressed to you?"

"They weren't messages. They were requisitions. I'm the ship's stock girl."

April fields stretched darkly away on either side of the highway. Presently she turned down a rutted road between two of them and they bounced and swayed back to a black blur of trees. "Here we are," she said.

Gradually he made out the sphere. It blended so flawlessly with its background that he wouldn't have been able to see it at all if he hadn't been informed of its existence. A gangplank sloped down from an open lock and came to rest just within the fringe of the trees.

Lights danced in the darkness behind them as another car jounced down the rutted road. "Jilka," Kay said. "I wonder if she got him."

Apparently she had. At least there was a man with her—a rather woebegone, wilted creature who didn't even look up as they passed. Quidley watched them ascend the gangplank, the man in the lead, and disappear into the ship.

"Next," Kay said.

Quidley shook his head. "You're not taking me to another planet!"

She opened her purse and pulled out a small metallic object "A little while ago you asked me what a snoll doper was," she said. "Unfortunately interstellar law severely limits us in our choice of marriageable males, and we can take only those who refuse to conform to the sexual mores of their own societies." She did something to the object that caused it to extend itself into a long, tubular affair. "This is a snoll doper."

She prodded his ribs. "March," she said.

He marched. Halfway up the plank he glanced back over his shoulder for a better look at the object pressed against his back.

It bore a striking resemblance to a shotgun.

End of Project Gutenberg's The Girls from Fieu Dayol, by Robert F. Young

*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRLS FROM FIEU DAYOL ***

***** This file should be named 61048-h.htm or 61048-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/6/1/0/4/61048/

Produced by Greg Weeks, Mary Meehan 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/license

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 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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

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

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

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-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, are 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
[email protected].  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
     [email protected]


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.