The Project Gutenberg EBook of Quickie, by Milton Lesser

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: Quickie

Author: Milton Lesser

Release Date: January 19, 2019 [EBook #58725]

Language: English

Character set encoding: ISO-8859-1

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




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







QUICKIE

BY MILTON LESSER

Dr. Kinsey, meet Mr. Grover, the amorous
adventurer. Even in a world of polygamous sexual
relations and legal multiple marriages, here is
the nation's champion philanderer!

[Transcriber's Note: This etext was produced from
Worlds of If Science Fiction, October 1954.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]


Simon Grover always felt like a goldfish in a coptercab. The plexiglass bubble afforded full 360 degree vision, but people could also see you from the crowded traffic lanes above a big city.

"Hurry," said Simon Grover, a small, energetic man with close-set hazel eyes and a stubborn chin.

"I'm hurrying," the pilot told him with frustrating indifference.

In another few moments he would be safe. He squirmed around and saw another copter rise above the express lane and close the gap between them. It had never been this close before. The aquamarine roof of the Marriage Building loomed ahead, then swelled up at them. The other copter buzzed closer.

"Don't see any landing space," the pilot said laconically.

Simon squinted down anxiously. The copters were lined up in neat but crowded rows on the rooftop, with hardly more than walking space between them.

"Hover," Simon pleaded. "I'll jump."

"I could lose my license."

Simon reached into his pocket and drew out a handful of bills. "This is important to me," he said.

The pilot pocketed the money, then swooped down toward the roof. Suspended grotesquely eight feet above the aquamarine surface, blades whirling, the coptercab hovered. Simon grunted his thanks and slid back the door. The other copter was fanning air above them and dropping fast when Simon jumped.

His left leg struck the side of a parked cab and threw him off balance. He landed on his shoulder, rolled over and scrambled to his feet. He darted between the rows of copters, thankful for the partial protection their blades offered him. A parabeam zipped down at the long shadow he cast in the late afternoon sun, but in another moment he had reached the roof entrance to the Marriage Building and flung himself inside.

Breathing hard, he smoothed his rumpled clothing with shaking hands. That had been entirely too close. They thought he was fleeing because he did not want to work for a living. Rot. If he were ever captured, all the romance would go from his life.

He sauntered down the long, pleasant corridor lined with murals of domestic tranquility—family gathered around the dining table, father and son raking leaves in the front yard, graceful elderly couple entertaining children and grandchildren at a merry hearth, young husband and wife going to bed. He was in no hurry now, for the Marriage Building was legal sanctuary.

He passed the long lines of registering Quickies, men filing into one room, women into another. He let his glance rove the line of female Quickies, wondering if his new wife would come from this group. They ranged in age from eighteen to about sixty, he guessed, and naturally they were of all conceivable types. He caught himself in time and stopped looking. It was not considered proper etiquette.

Rounding a turn in the corridor, Simon took the slidestair down one level to where Transients registered and attached himself to the end of a long line of men which was swallowed slowly by a doorway above which was the legend:

MARRIAGE COUNSELORS

Simon checked his counterfeit registration papers and was aware of the old, familiar feeling of uncertainty. His heart bobbed up into his throat and pounded there. His palms were clammy, his fingers wouldn't keep still. Would the papers pass inspection? He was almost certain they would. But he savored the other possibility although he hated its ultimate consequences. As some people craved security, so others thrived on adventure.

Simon lit a cigaret and waited while the line crawled forward, parallelling a line of female Transients moving through another doorway.


"Sit down, Mr. Grover," the Counselor said as Simon entered the room. It was a large place with a central aisle and a dozen private cubbies on either side, each one with celotex walls, a desk, two chairs, the latest in marriage literature, and a Counselor.

Simon eased his small frame into a comfortable chair and handed his papers to the Counselor. "I see you have come from Philadelphia," the man said, smiling not quite professionally—which, Simon knew, was the best of all professional smiles. "Were the accommodations satisfactory? Of course, you don't have to talk about them."

"They were fine. Just fine." Naturally, Simon did not tell the Counselor about his flight from the police.

"How long will you be with us in New York?"

"I figure about three weeks. It depends on business, though. Might be a little longer, I guess."

"We'll say three weeks." The Counselor scrawled something on Simon's registration form. "Now, Mr. Grover, exactly what kind of wife are you looking for?"

"To tell you the truth, I haven't given it much thought yet."

"Splendid," the Counselor was delighted with the opportunity to expound on his wares. "As you know, we have six basic types." He removed six colorful folders from six stacks on his desk and handed them to Simon.

"The first," he went on, "is the newlywed Quickie. The red folder, Mr. Grover. She has just completed her honeymoon, is not pregnant, and has been married for no more than six months."

Simon examined the folder. On the cover was pictured a young man carrying his bride, complete with bashful smile, across the threshold of their home. There were suggestive dining room, patio and bedroom scenes inside, with appropriate captions.

"The second type," explained the Counselor, "is the new mother." The folder showed a charming young woman breast-feeding an infant. The Counselor went on to the other types: the middle mother, a woman of about thirty with two children, one of pre-school age and one in the first three grades; the teener, with from two to five children in their teens or early twenties; the pre-gram, with any number of married children living away from home, but no grandchildren; and the grandmother.

"You understand," the Counselor said, "we have all types in between as well. These are merely the basics." He surveyed Simon's registration papers again. "You're thirty-five, Mr. Grover. A fine age, I might say. You'd be suited to any type, with the exception of the grandmother."

"I don't want the grandmother, anyway," Simon told him. "You know, I think I'll take the newlywed this time."

The Counselor winked knowingly. "Still a lot of get-up-and-go in the old copter, eh?"

"It's spring," Simon said.

"Yes. We find it most interesting, that certain types are favored in the various seasons. Newlyweds in the spring, pre-grams in the summer, middle mothers in the fall, new mothers and grandmothers in the winter. Confidentially, Mr. Grover, I've always longed to be a Transient myself. But you have to be a Quickie to hold this job, since you're in one place for such a long period of time. Well, what type of newlywed did you have in mind?"

Simon licked his lips eagerly. In Philadelphia the last time he had come close to learning the parting ritual. But it tripped him up, as usual, and he reached New York one step ahead of the police. "She must be very impressionable," Simon said, "and very talkative. She must be eager to discuss the theories of multiple marriage—"

"Most newlyweds are," the Counselor pointed out.

"Well, particularly so. And, of course, she must not be carrying a torch for her honeymoon husband."

"That's rare these days, Mr. Grover."

"It happened to me once, in St. Louis. Had an awful time."

"Then she probably was a misfit. After all, the institution of multiple marriages is almost eighty years old, and the only form of marriage in the United States today. If we were still in the early pioneering days you might have cause to worry. Ideas of propinquity still seemed important then, and people were concerned with such things as lasting relationships, though for the life of me I can't see why."

"They thought it was more secure," suggested Simon.

"But it isn't. In the old days, statistics proved that if a man or woman was saddled with one mate too long, it often led to trouble. The old Et al report of 1979 shocked the world with its figures: ninety five percent of all married men had illicit relations with other women, and the figure was almost as high for women. Relations with unmarried people. It's rather horrible, isn't it, Mr. Grover?"

"I suppose so," said Simon, half-listening. All he needed now was the parting ritual. A nice, impressionable, talkative newlywed girl....

"As usual," the Counselor continued in a dedicated voice, "man had leaped ahead of his outmoded institutions without realizing it. The notion of marriage based largely on propinquity and permanent relationship just didn't fit the modern tempo of civilization, where transient workers dart across the continent constantly, always on the move, hardly staying in one place long enough to hang their hats, as the expression goes. Marital infidelity in the old days led to crimes of passion, to divorce, to unsettled families, to children reared in orphanages or by strangers—perfect strangers, mind you—to divorce and re-marriages and so much energy and time and money wasted on second and even third courtships.

"Fortunately, the social institution fits the tempo of the culture today. A Transient—man or woman—gets married and provides for one spouse, one family, but has the pick of the nation to choose from. Even a Quickie like myself is stimulated by constant variety and change. No one is ever bored. You don't have to see your original mate ever again, as long as you, as a Transient, provide for her. The Quickies, in their turn, will provide for you in all your subsequent marriages. You have the novelty and satisfaction of a true change in environment every time you travel, but you also have the comfort and security of a home."

"This newlywed girl must also be naive," said Simon. "That's important."

The Counselor made another notation. "You know," he said, "there is one small school of thought which claims the novelty, the verve and sparkle are lacking because the constant variation is perfectly legal. Perhaps they have a point there: secrecy is stimulating. But they refuse to admit we even provide for that. After all, a Transient assumes the name of his temporary spouse, his Quickie. No one, not even the Quickie, knows his real identity. The Marriage records are available to no one, not even the government, not even the police, thus preserving the sense of—well, freshness for the Transients.

"But I digress. Have you any physical preferences, Mr. Grover?"

"I'm not very tall. Keep her down to my size, please. And I want a pretty wife."

The Counselor made his final notations, rolled Simon's registration papers and stuffed them into a pneumotube which he dropped into a wall slot. The tube, Simon knew, was being whisked to Quickie Records, Newlywed Division, where identification of the girl fitting his requirements would be made by the machine records unit of available newlyweds. Last time, in Philadelphia, he had selected a garrulous old grandmother and hated every moment of the two weeks he had spent with her. It had been against the recommendations of the Counselor there, who had claimed the age difference would not make for harmony. The man had been right, but worse yet, the old hag had been too wily to reveal what Simon had to know.

"Congress is considering a law," said the Counselor as they waited for the return of Simon's registration papers, "which would permit Quickies and Transients to alternate year after year. It would cause social upheaval at the beginning, but it's only fair to us Quickies, don't you think?"

Simon shrugged. The man was starting to bother him. "I'd rather be a Transient," he said. "I'm for the status quo."

"But Quickies have no choice in the matter, don't you see? We have to marry whoever comes along. My last wife—"

"As a Quickie, you're not supposed to talk about her."

The Counselor blanched at what had almost amounted to a sin. "Thank you," he said, and waited in silence for the pneumotube.

Finally, it came, popping out of the wall slot and alighting on the desk. The Counselor removed Simon's papers and unrolled them, revealing a set of similar papers rolled tightly within. These he opened and spread on the desk, beckoning Simon to come around behind him and take a look.

The first thing Simon saw was the snapshot, in the latest trivision process. The girl looked pretty enough, with a pale, heart-shaped face set off against short-cropped, shining black hair. She had enormous, child-like eyes.

"How do you do?" the picture said. "I am Jane-Marie Paige. I miss you."

"See," said the Counselor, "she has a lovely voice."

Simon nodded, picked up the trivision snapshot and held it under his nose, sniffing delicately. He liked the scent of Jane-Marie's perfume—not too musky, not too flowery, but that ideal compromise which indicated she would be neither too sultry nor too fragile.

The Counselor wrote in Simon's name on her papers, printing "approx. 3 wks" under the column for time, and handed both rolls to Simon. "Her address is in the second column," he said. "Visit us again on your next trip to New York, Mr. Grover. And good luck."


By the time Simon took the tubeway out to the suburban Long Island community in which Jane-Marie Paige lived, the bright spring afternoon was fading into dusk, tinting the western sky with bands of color ranging from deep blue and purple through mauve to delicate, dusty pink. The smell of spring was in the air, but with the coming of night the lingering chill of winter was still apparent. It would be great, coming home again to a new wife, to a drink and an excellent home-cooked dinner, to a cozy fire perhaps—especially when you could have all that and still retain the pulse-quickening feeling of adventure.

Whistling, Simon found Maple Lane and walked by the rows of spherical houses which could rotate with the sun from equinox to solstice and back again. Simon could tell it was a development of newlywed homes by their small size, by the absence of baby carriages and toys on the front lawns, by the small clumps of white birch trees and windows with their curtains drawn.

He found the address listed on Jane-Marie's registration papers and turned up the walk, noticing the small, ranch-type name post with "Mr. and Mrs. Jane-Marie Paige" on it in big gold letters.

"It's Simon," he said as the door slid soundlessly into the curving wall. "I'm home."

Suddenly, Jane-Marie appeared there in the doorway. She must have been at one of the curtained windows, peeking out at him. There were soft lights behind her and a delicate halo circled her dark hair from the raditiara she wore.

"Simon," she said, barely above a whisper, a radiant smile on her face. "They called me. Come in, darling."

But she still barred the doorway. When he came in he came into the arms of his waiting wife, his newlywed wife, his Jane-Marie. "I missed you ever since they sent your picture," she breathed, while he kissed the lobes of her ears, the tip of her nose, her eyes, her warm, eager lips.

"Jane-Marie," he said. It was genuinely thrilling to her, he sensed. It was more than that to him. It was—it was illicitly thrilling, worth all the quick exits and close calls with the police.

"You'll muss me," Jane-Marie scolded him, drawing away and rearranging her hair under the tiara. "There. Are you hungry?"

"Honey, I'm famished."

"Well, I'm making no promises. I'm not much of a cook, really. They didn't tell me how long you were going to stay, but I should improve enough so when the next—"

"Sh. I'll be here three weeks."

"Come in, come in." She took his hand in her own warm one, pressing the door button and dimming the hall light as they walked into the house. "Tell me about yourself, darling. What do you do? How are you going to spend your time in New York? Oh, I'm so excited. There's so much to talk about, so much to learn about each other. Do you play bridge? There's a couple down the street, the wife's a Transient and just got here today, but I know the husband, who likes to play bridge. Do you like music? I'll turn some on."

She was talkative, all right. Soon Simon heard the lilting strains of a Strauss waltz. Jane-Marie pirouetted happily about the dining room table in three-quarter time and sat down, motioning Simon to sit near her and not on the other side. As he adjusted his napkin she leaned her head on his shoulder and said, "I like your eyes, darling."

He smiled. "They're close-set."

"They are not. They're very intelligent-looking. I'll bet you're an engineer or something. I'll bet you're going to help design that new construction project in Brooklyn. Gee, I like your eyes." She gazed up at them demurely.

The robot server wheeled in the first course along with a frosted bottle of champagne leaning gracefully in a silver chilling urn. Simon popped the cork expertly, filled both glasses and raised his. "To us," he said.

"To us, darling. Forever and ever three weeks. I hope you like chopped liver salad," Jane-Marie added nervously. "I had no way of knowing, but from now on you'll get whatever you like, I promise."

"It's delicious," Simon said, beginning to eat.

Other courses followed. There was jellied consommé, roast, stuffed chicken and sweet potato pudding, a salad which Simon tossed with an enthusiasm and expertness that Jane-Marie said was a joy to behold, dessert of brandied bing cherries, coffee and pie. And a constant stream of chatter from Jane-Marie.

"Well," said Simon, patting the bulge at his waistline and sliding his belt-clasp an inch or two looser with the comfortable informality only a married man can display (and in his own home, thought Simon). "I must say that was good."

"I'm so glad you liked it. Do you want to sit around the fire and talk, dear?" She flavored the term of endearment once more. "Dear."

The robot server had begun to remove the dishes from the table. Simon stood up and was followed by Jane-Marie into the sunken living room, where he began to pile wood and kindling on the andirons in the raised-hearth fireplace. As she bent to watch him, the décolleté hostess gown revealed a breathless amount of lovely white skin. "Maybe we'll retire after that," Simon said, trying not to sound the way he felt, which was more than mildly lecherous.

Jane-Marie smiled a secret, small-girl smile and pulled him down on the cushion in front of the hearth, on which a bright fire was now crackling. "It's so good to have you home, darling, all to myself. Will your work keep you away much? I hope not."

"To tell you the truth, I'm on vacation."

"That is nice," Jane-Marie murmured dreamily. "And flattering, too, because you selected me to share your vacation."

"Could it be anyone but you?" Simon said. "As if it could be anyone but you." Which was perfectly, beautifully, delightfully true—for three weeks. "You married rather young, I see."

Jane-Marie stroked his temples with long fingers. "Oh, now, don't be so sure," she smiled. "Maybe I'm older than I look."

"No. You're about twenty. I guess you like marriage."

"I love it. It's too early to tell, but—well, it agrees with me."

"I'm glad."

"Glad of what, darling?"

"That you married early. Come here."

She came and sat in his lap. He blew in her ears and at the short hairs on the nape of her neck until she laughed. "I love you," she said. "I love you so."

He loved her too. It was right. She was the girl he had selected. But a sense of urgency swept over him, not only for the love they would consummate as the night grew longer, but for what he hoped to learn from her so he could have the name as well as the game—as well as that feeling of adventure which sharpened his senses so acutely. He said, "Do you ever think of the times before multiple marriage became the accepted social institution? Do you ever think of how those people must have felt?"

"I knew you were an intellectual!" Jane-Marie cried instead of answering his question. "I just knew it. I could see it in your eyes, darling. Oh, I do love you."

He kissed her tenderly, then with fire. He could feel the passion mounting between them, but tore himself from its grasp. "Don't you ever think of it?" he asked again.

"Well, I read a book about it once, Murray's The Decline of Monogamy. They must have felt simply awful, darling. I mean, I love you, but to have to spend all that time, season after season, year after year, with the same person would—would drive you crazy. You'd get to know him so well, everything he did, the way he thought and all. Oh, with you it's different. I could spend forever with you three weeks, but—"

"No, Honey. I mean the others. The outcasts. Those who carried on adulterous relationships."

Jane-Marie frowned in thought. He could tell the conversation interested her but thought she would have preferred to drop it. Still, the conversation was flowing more smoothly than he had dared hope, and in the right direction.

"I don't know," Jane-Marie finally admitted. "I suppose they were pioneers, sort of. I mean, flaunting social custom the way they did because they were willing to fight for a better way of life."

"I agree with you," Simon said. "Sometimes convention restricts you and doesn't allow you to live the fullest life. You should then flaunt convention by all means, don't you think?"

"I do. I do."

He sighed gratefully. The seed had been planted. He now had to cultivate it for three weeks. A word here, a gesture there, a suggestion, twenty-one days of marital bliss, of gaining her confidence, of impressing her with everything he did.

"Well," he said, "shall we go upstairs?"

He watched the color rise from Jane-Marie's throat and soon suffuse her face. "I was thinking Mr. and Mrs. Busby might want to play some bridge—"

"There are other nights," he said. He scattered the embers of the burning logs with the poker and went into the dining room after the bottle of champagne. With Jane-Marie at his side he climbed the stairs.


The shower had stopped. He could hear Jane-Marie humming to herself in a nervous falsetto. He didn't know whether to get under the covers or not, and finally decided Jane-Marie would be more at ease if he did. He had already combed his hair and brushed his teeth.

At last, she came. She was lovely, his wife, in a daring black negligee. She stood there in it for a long, wonderful moment, then plunged the room into darkness.

You could be a newlywed over and over again, Simon thought happily. You could taste the joys of brand new parenthood not once but a hundred times. You could see the kids off to school on that memorable first day as often as you liked, see your grandchildren that first glorious time through the glass window also as often as you wished, or taste many times of an old, established relationship which was yet mysteriously new, despite the gray hairs and conditioned familiarity.

It was a full life, but something was lacking. Did it make him a misfit? Probably, but he had his own life to lead, his own fulfillment to achieve, his own strange kinship with the early rebels who had blasted monogamy from the pages of social history.

"You'll think this is silly," Jane-Marie whispered in the darkness.

"What's that, dear? What will I think is silly?"

"What I'm going to ask you."

"No I won't. Honest."

"Well—"

"Go on, if it will make you happy." He could sense her presence near him.

"Well, it isn't that I don't trust you, but there's so much of it going on lately that I thought—"

"What did you think?"

"The—the parting ritual. You know what it's for, darling. A safeguard."

Simon plunged from zenith to nadir in seconds. He would never spend those three weeks with Jane-Marie. He would be running again, running until he could board the tubeways in anonymity from the basement of a Marriage Building in some other city. But it had never happened so quickly before.

"Can't it wait for three weeks?" he asked, knowing the request was futile.

"Then it's hardly a safeguard for me, just for—for the next one. It's just lately that all those misfits have started.... I guess some people will never be satisfied."

Her hand touched his hand in darkness. There were finger movements. She began to chant meaningless syllables.

This was it, Simon knew in despair. He could not respond. It was a simple thing, but people were sworn to absolute secrecy. It was changed every few months and he had never been able to learn it.

A sob escaped Jane-Marie's lips. "Simon," she gasped. "Simon, you aren't ... you're not doing...."

"No," he said wearily. He sat up quickly in the darkness, and dressed. He could hear her reaching for the phone. He stood up and went to her, but she turned away.

"Don't you touch me. Go away, leave me alone. Of all the despicable ... and I thought ... I almost.... Hello, police? This is Mrs. Jane-Marie Paige on Maple Lane. I want to report...."



"Goodbye," he whispered softly.

"I hate you!"

He left quickly, double-timing down Maple Lane between the rows of spherical houses. He didn't belong. He was an outlaw, a criminal, a maladjusted misfit—or worse. Some people are never satisfied. The police failed to understand. To them his type was lazy, shiftless. They were drones, parasites who could reap all the advantages of multiple life without working a day. They had no one to support.

But that isn't it at all, thought Simon as he ran. He could hear the approaching wail of police sirens. He must hurry. Perhaps in Boston he would get the one stroke of luck he needed, if the police didn't catch him first. It wasn't that he was lazy and lacked the sense of responsibility which would make him support a family. Everything was too patterned, too set-out-for-you, too prosaic. In his own way he courted danger and was hated for it. He sought the spice of an illicit relationship which he supposed some people always needed.

He could picture pretty Jane-Marie crying out the whole story to the police. "That man—he was a bachelor!"






End of the Project Gutenberg EBook of Quickie, by Milton Lesser

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

***** This file should be named 58725-h.htm or 58725-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/8/7/2/58725/

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
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


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

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

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

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

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

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


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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


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


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

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