summaryrefslogtreecommitdiff
path: root/29749.txt
diff options
context:
space:
mode:
Diffstat (limited to '29749.txt')
-rw-r--r--29749.txt944
1 files changed, 944 insertions, 0 deletions
diff --git a/29749.txt b/29749.txt
new file mode 100644
index 0000000..aa3d7f3
--- /dev/null
+++ b/29749.txt
@@ -0,0 +1,944 @@
+The Project Gutenberg EBook of The Flying Cuspidors, by V. R. Francis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Flying Cuspidors
+
+Author: V. R. Francis
+
+Release Date: August 21, 2009 [EBook #29749]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLYING CUSPIDORS ***
+
+
+
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+ _A trumpet-tooter in love can be a wonderful sight, if Local 802
+ will forgive our saying so; when extraterrestrials get involved
+ too--oh brother! V. R. Francis, who lives in California and has
+ previously appeared in men's magazines, became 21 and sold to
+ FANTASTIC UNIVERSE all in the same week._
+
+
+ the
+ flying
+ cuspidors
+
+ _by ... V. R. Francis_
+
+
+ This was love, and what could be done about it?
+ It's been happening to guys for a long time, now.
+
+
+Hotlips Grogan may not be as handsome and good-looking like me or as
+brainy and intellectual, but in this fiscal year of 2056 he is the
+gonest trumpet-tooter this side of Alpha Centauri. You would know what I
+mean right off if you ever hear him give out with "Stars Fell on Venus,"
+or "Martian Love Song," or "Shine On, Harvest Luna." Believe me, it is
+out of this world. He is not only hot, he is radioactive. On a clear day
+he is playing notes you cannot hear without you are wearing special
+equipment.
+
+That is for a fact.
+
+Mostly he is a good man--cool, solid, and in the warp. But one night he
+is playing strictly in three or four wrong keys.
+
+I am the ivory man for this elite bunch of musicians, and I am scooping
+up my three-dee music from the battered electronic eighty-eight when he
+comes over looking plenty worried.
+
+"Eddie," he says, "I got a problem."
+
+"You got a problem, all right," I tell him. "You are not getting a job
+selling Venusian fish, the way you play today."
+
+He frowns. "It is pretty bad, I suppose."
+
+"Bad is not the word," I say, but I spare his feelings and do not say
+the word it is. "What gives?"
+
+He looks around him, careful to see if anybody in the place is close
+enough to hear. But it is only afternoon rehearsal on the gambling ship
+_Saturn_, and the waiters are busy mopping up the floor and leaning on
+their long-handled sterilizers, and the boys in the band are picking up
+their music to go down to Earth to get some shut-eye or maybe an atomic
+beer or two before we open that night.
+
+Hotlips Grogan leans over and whispers in my ear. "It is the thrush," he
+says.
+
+"The thrush?" I say, loud, before he clamps one of his big hands over my
+kisser. "The thrush," I say, softer; "you mean the canary?"
+
+He waves his arms like a bird. "Thrush, canary--I mean Stella
+Starlight."
+
+For a minute I stand with my mouth open and think of this. Then I rubber
+for the ninety-seventh time at the female warbler, who is standing
+talking to Frankie, the band leader. She is a thrush new to the band and
+plenty cute--a blonde, with everything where it is supposed to be, and
+maybe a little extra helping in a couple spots. I give her my usual
+approving once-over, just in case I miss something the last ninety-six
+approving once-overs I give her.
+
+"What about her?" I say.
+
+"It is her fault I play like I do," Hotlips Grogan tells me sadly. "Come
+on. Leave us go guzzle a beer and I will tell you about it."
+
+Just then Frankie comes over, looking nasty like as usual, and he says
+to Grogan, "You are not playing too well today, Hotlips. Maybe you hurt
+your lip on a beer bottle, huh?"
+
+As usual also, his tone is pretty short on sweetness and light, and I do
+not see why Grogan, who looks something like a gorilla's mother-in-law,
+takes such guff from a beanpole like Frankie.
+
+But Grogan only says, "I think something is wrong with my trumpet. I
+have it fixed before tonight."
+
+Frankie smirks. "Do that," he says, looking like a grinning weasel. "We
+want you to play for dancing, not for calling in Martian moose."
+
+Frankie walks away, and Hotlips shrugs.
+
+"Leave us get our beer," he says simply, and we go to the ferry.
+
+We pile into the space-ferry with the other musicians and anyone else
+who is going down to dirty old terra firma, and when everybody who is
+going aboard is aboard, the doors close, and the ferry drifts into
+space. Hotlips and I find seats, and we look back at the gambling ship.
+It is a thrill you do not get used to, no matter how many times you see
+it.
+
+The sailor boys who build the _Saturn_--they give it the handle of
+_Satellite II_ then--would not know their baby now, Frankie does such a
+good job of revamping it. Of course, it is not used as a gambling ship
+then--at least not altogether, if you know what I mean. Way back in 1998
+when they get it in the sky, they are more interested in it being useful
+than pretty; anybody that got nasty and unsanitary ideas just forgot
+them when they saw that iron casket floating in a sky that could be
+filled with hydrogen bombs or old laundry without so much as a four-bar
+intro as warning.
+
+Frankie buys _Satellite II_ at a war surplus sale when moon flights
+become as easy as commuters' trips, and he smoothes out its shape so it
+looks like an egg and then puts a fin around it for ships to land on.
+After that, it does not take much imagination to call it the _Saturn_.
+Then he gets his Western Hemisphere license and opens for business.
+
+My daydreaming stops, for suddenly Hotlips is grabbing my arm and
+pointing out the window.
+
+"What for are you grabbing my arm and waving your fist at the window,
+Hotlips?" I inquire politely of him.
+
+"Eddie," he whispers, all nervous and excited from something, "I see
+one."
+
+I give him a blank stare. "You see one what?"
+
+"One flying cuspidor," he says, his face serious. "I see it hanging out
+there by the _Saturn_ and then suddenly it is gone. Whoosh."
+
+"Hallucination," I tell him. But I look out hard and try to see one too.
+I don't, so I figure maybe I am right, after all.
+
+I do not know about this "men from space" gimmick the science-fiction
+people try to peddle, but lots of good substantial citizens see flying
+cuspidors and I think to myself that maybe there is something to it. So
+I keep looking back at the _Saturn_, but nothing unusual is going on
+that I can see. My logic and super-salesmanship evidently convinces
+Hotlips, for he does not say anything more about it.
+
+Anyway, in a few minutes we joggle to a stop at Earthport, pile out,
+wave our identification papers at the doorman with the lieutenant's
+bars, and then take off for the _Atomic Cafe_ a block away.
+
+Entering this gem of a drinking establishment, we make our way through
+the smoke and noise to a quiet little corner table and give Mamie the
+high-sign for two beers. A few minutes later she comes bouncing over
+with the order and a cheery word about how invigorating it is to see us
+high-class gentlemen instead of the bums that usually hang around a
+joint like this trying to make time with a nice girl like her.
+
+"That is all very nice," I say to her politely, "and we are overjoyed
+beyond words to see you too, Mamie, but Hotlips and I have got strange
+and mysterious things to discuss, so I would appreciate it if you would
+see us later instead of now." With this, I give her arm a playful pat,
+and she blushes and takes the hint.
+
+When we are alone, I ask Hotlips, now what is the trouble which he has.
+
+"Like I tell you before," Hotlips says, "I have a problem. So here it
+is." He takes a deep breath and lets fly all at once. "I am in love of
+the thrush, Stella Starlight."
+
+I am drinking my beer when he says this, and suddenly I get a snootful
+and start coughing, and he whams me on the back with his big paw so I
+stop, more in self-defense than in his curing me. Somehow, the idea of a
+big bruiser like Hotlips Grogan in love of a sweet fluffy thing like
+Stella Starlight seems funny.
+
+"So?" I say.
+
+"So that is why I play so bad tonight," he says. Seeing I do not quite
+catch on to the full intent of his remarks, he continues. "I am a happy
+man, Eddie. I got my trumpet, a paid-for suit of clothes, a one-room
+apartment with green wallpaper. Could a man ask for much more?"
+
+"Not unless he is greedy," I agree.
+
+Hotlips Grogan is staring at his beer as though he sees a worm in it and
+looking sadder than ever. "It is a strange and funny thing," he says,
+dreamy-like. "There she is singing, and there I am giving with the
+trumpet, and all of a great big sudden--whammo!--it hits me, and I feel
+a funny feeling in my stomach, like maybe it is full of supersuds or
+something, and my mouth is dry just like cotton candy."
+
+"Indigestion," I suggest.
+
+He shakes his big head. "No," he says, "it is worse than indigestion."
+He points to his stomach and sighs. "It is love."
+
+"Fine," I say, happy it is not worse. "All you got to do is tell her,
+get married and have lots and lots of kids."
+
+Hotlips Grogan's big eyebrows play hopscotch around his button nose, so
+I can tell he does not think I solve all his troubles with my
+suggestion.
+
+"You are a good man, Eddie," he tells me, "but you are too intellectual.
+This is an affair of the heart." He sighs again. "I am never in love of
+a girl before," he goes on, more worried, "and I do not know how to act.
+Besides, the thrush is with us only a day, and Frankie already is making
+with the eyes."
+
+"So what should I do, give you lessons?" The idea is so laughable I
+laugh at it. "Anyway, Frankie always makes with the eyes at thrushes."
+
+"Yes," Hotlips Grogan admits, "but never before have I been in love of
+any of the thrushes Frankie has made with the eyes at. Frankly, Eddie, I
+am worried like all get out about this."
+
+"Sometimes I do not even understand the way you play even before the
+thrush comes, Hotlips," I admit. "Like for instance yesterday when we
+play 'A Spaceship Built for Two.' This is a song, as you know, that does
+not have in it many high notes, but even when you play the low notes
+they sound somewhat like they maybe are trying to be high notes. It is a
+matter which is perplexing to one of my curious nature."
+
+Hotlips looks sheepish for a minute and then he says, "It is a physical
+disability with me, Eddie. When I am young and practicing with my
+trumpet one day, I have an accident and get my tongue caught in the
+mouthpiece, and it is necessary for the doctor to operate on my tongue
+and cut into it like maybe it is chopped liver."
+
+"I am sorry to hear this, Hotlips," I say.
+
+"I do not tell anyone this before, Eddie," Hotlips confesses. "But
+afterward when I play the trumpet, I play two notes at one time, which
+at first is pretty embarrassing."
+
+"This is great, Hotlips," I proclaim as a big idea hits me; "you can
+play your own harmony. With talent like that, and my brain--"
+
+But Hotlips is shaking his head. "No, Eddie," he says. "The other note
+is way off in the stratosphere someplace and no one can hear it, even
+when the melody note is low. And the higher the note is you can hear,
+the higher the other note is you cannot hear. Besides, now I cannot even
+play what I am supposed to play, what with the thrush around."
+
+I sit there with my beer in my hand and think about it for a while,
+while Hotlips looks at me like a lost sheepdog. I scratch my head but I
+do not even come up with dandruff.
+
+Finally, I say, "Well, thrush or not, if you play no better than you do
+this afternoon, Frankie will make you walk back home without a
+spacesuit."
+
+"That is for positive," Hotlips agrees sadly. "So what can I do?"
+
+I am forced to admit that I do not know just what Hotlips can do.
+"However," I say, "I have an idea." And I call Mamie over and tell her
+the problem. "So you are a woman and maybe you know what my musician
+friend can do," I suggest.
+
+Mamie sighs. "I am at a loss for words concerning what your friend can
+do, but I know just how he feels, for it is like that with me, too. I am
+in love of a handsome young musician who comes in here, but he does not
+take notice of me, except to order some beer for him and his friend."
+
+I click my teeth sympathetically at this news.
+
+"And I am too shy and dignified a girl to tell him," Mamie continues
+sadly. "So you see I have the same problem as your friend and cannot
+help you."
+
+"See," I whisper to Hotlips, "it is perfectly normal."
+
+"Yes," he hisses back. "But I am still miserable, and the only company I
+desire is that of Stella Starlight."
+
+"Maybe it really is your trumpet," I suggest, not very hopeful, though.
+
+Hotlips shakes his head. "Look," he says and takes the trumpet from his
+case and puts it to his lips, "and listen to this."
+
+Inwardly, I quiver like all get out, because I figure that is just what
+the management will tell us to do, once Hotlips lets go. Hotlips puffs
+out his cheeks and a soft note slides from the end of the trumpet--low,
+clear, and beautiful, without a waver in a spaceload. Only a few people
+close by can hear the note and they do not pay us any attention, except
+to think that maybe we are a little nuttier than is normal for
+musicians.
+
+From his first note, Hotlips shifts to a higher note which is just as
+pretty. Then he goes on to another one and then to another, improvising
+a melody I do not hear before and getting higher all the time. After a
+while I can hardly hear it, it is so high, but I can feel the glass in
+my hand vibrating like it wants to get out on the floor and dance. I
+hold on to it with both hands, so my beer will not slosh over the side.
+Then there is no sound at all from the trumpet, but Hotlips' cheeks are
+puffed out and he is still blowing for all he is worth--which is plenty,
+if he can play like this when Stella Starlight is around.
+
+I tap Hotlips on the shoulder. "Hotlips, that is all very well for any
+bats in the room which maybe can hear what you play, but--" He does not
+pay me any attention.
+
+Suddenly there is a large crinkle-crash of glass from the bar and a
+hoarse cry from the bartender as he sees his king-size mirror come down
+in little pieces. At the same time, glasses pop into fragments all over
+the room and spill beer over the people holding them. Even my own glass
+becomes nothing but ground glass and the beer sloshes over the table. At
+the moment, however, I do not worry about that.
+
+There are other things to worry about which are more important--like
+Hotlips' and my health, for instance, which is not likely to be so good
+in the near future.
+
+Like I say, Hotlips does not play loud and it is noisy in the place, so
+there are not too many who hear him. But they look around, all mad and
+covered with beer, and see him there with the trumpet in his hand and a
+funny look on his big face, and they put two and two together. I can see
+they figure the answer is four. And what makes things worse, they are
+between us and the front door, so we cannot sneak past like maybe we are
+just tourists.
+
+"Hotlips," I say to him, my voice not calm like is usual, "I think it is
+a grand and glorious idea that we desert here and take ourselves
+elsewhere."
+
+Hotlips agrees. "But where?" he wants to know.
+
+I am forced to admit to myself that he comes up with a good question.
+
+"Over here," Mamie said suddenly, and we look across the room to see
+her poking her nose through a side door.
+
+We do not wait for a formal invite but zoom across the floor and through
+the door into another, emptier room. Mamie slams the door and locks it
+just as two or three bodies thump into it like they mean business.
+
+"The manager is out there and is not completely overjoyed with your
+actions of a short while ago," Mamie informs us, explaining, "I
+recognize the thump the character makes."
+
+"Evidently," I surmise, "he is in no mood to talk to concerning damages
+and how we can get out of paying them, so we will talk to him later
+instead of now."
+
+"See what I mean, though, Eddie," Hotlips says. "I play fine when Stella
+Starlight is not in the place. Like I say, it is love and what can I do
+about it."
+
+"It is a problem," I say. "Even if you _do_ play, you will no doubt be
+fired and cannot pay for the damages to the bar room and to the
+customers' clothing." Already there are holes in my plastic clothing
+where the beer splashes. "If you can only give out on the _Saturn_ like
+you play here," I sigh, "we can break all records and show Frankie--"
+
+Suddenly Mamie is tugging at my arm.
+
+"Mamie," I inquire politely of her, "why are you tugging at my arm?"
+
+"That is it," she informs me and leans forward and whispers in my ear.
+
+"But--" I say.
+
+"Hurry," she says, pushing us out another door. "You have only got this
+afternoon to do it."
+
+"But--" I say again, and Hotlips and I are in the alley looking at the
+door which Mamie closes in our face.
+
+"What does Mamie say?" Hotlips wants to know eagerly. "Can she fix it up
+with me and Stella Starlight?"
+
+I scratch my head. "That I do not know, Hotlips, but she does give me an
+idea which is so good I am surprised at myself I do not think of it
+alone."
+
+Hotlips gives me a blank stare. "Which is?"
+
+"Come on," I say mysteriously. "You and me have got things to do."
+
+It is hard to say who is more nervous that night, Hotlips or a certain
+piano player with my name. Frankie is smirking like always, and Stella
+Starlight is sitting and looking beautiful while she waits for her cue.
+Hotlips is fumbling with his trumpet like maybe he never sees one
+before. And I--even I am not exactly calm like always.
+
+The band begins to warm up, but we do not knock ourselves out because
+there are still no customers to speak of. Frankie's license makes it
+plain that he has to stay over the western hemisphere so he has to wait
+until it gets dark enough there for the people to want to go
+night-clubbing, even though it is not really night on the _Saturn_, or
+morning or anything else.
+
+We play along like always, and Hotlips has his trumpet pressed into his
+face, and nothing but beautiful sounds come from the band. I do not know
+if Frankie is altogether happy about this, for he does not like Hotlips
+and would like this chance to bounce him. But what surprises me most is
+that the thrush, Stella Starlight, keeps looking back at Hotlips like
+she notices him for the first time and is plenty worried by what she
+sees.
+
+We have a short break after a while and I am telling Hotlips that the
+idea goes over real great, when Stella Starlight waltzes over. Hotlips'
+big eyes bug out and I can see him shaking and covered with goosebumps.
+
+"You do not play like that before, Hotlips," she coos. "What did you
+do?"
+
+Hotlips blushes and stammers, "Eddie and I fix--" But I give him a kick
+in his big shins before he gives the whole thing away.
+
+"Hotlips does some practicing this afternoon," I tell her, "to get his
+lip in shape for tonight."
+
+She looks at me like she is looking through me, and then she turns back
+to Hotlips and says, soft and murmuring: "Please do not play too high,
+Hotlips. I am delicate and am disturbed by high sounds."
+
+She waltzes away, and I scratch my head and try to figure out what this
+pitch is for. Hotlips is not trying to figure out anything; he just sits
+there looking like he has just got his trumpet out of hock for the last
+time.
+
+"Hotlips," I say to him.
+
+"Go away, please, Eddie," he tells me. "I am in heaven."
+
+"You will be in the poorhouse or maybe even in jail if you tell somebody
+how we fix your playing," I warn him.
+
+"I still feel funny feelings though, Eddie," he tells me, frowning,
+"like I cannot hit high notes now if I try."
+
+"Then do not try," I advise. "One problem at a time is too much."
+
+There is a commotion at the entrance on the other side of the dance
+floor, where some people all dressed up come in. A woman is holding her
+head and moaning and threatening to faint all over the place.
+
+Frankie hurries over to us, running fidgety hands through his hair. "For
+goodness sake, play something," he almost begs.
+
+"What gives?" I inquire.
+
+"Flying cuspidors," Frankie says in a frantic tone. "They are all around
+the place, like they are maybe mad at something, and a few minutes ago
+they buzz the ferry and get the passengers all nervous and upset. If
+they do that again, business will be bad; maybe even now it will be bad.
+Play something!"
+
+He hops out in front with his baton and gives us a quick one-two, and we
+all swing into "Space On My Hands," real loud so as to get people's
+minds off things which Frankie wants to get people's minds off of.
+
+Stella Starlight gets up to sing, but she looks more like she would
+rather do something else. She stares at Hotlips and at the trumpet on
+his lips and begins to quiver like she is about to do a dance.
+
+I remember she says she does not like high notes, and this song has some
+pretty well up in the stratosphere, especially for the trumpet section,
+which is Hotlips.
+
+She is frowning like maybe she is thinking real hard about something and
+is surprised her thoughts do no good. Her face becomes waxy and there is
+a frightened look on it.
+
+She quivers some more, as the notes go up and up and up. Then she lets
+out a shriek, like maybe she is going to pieces.
+
+And then she does. Actually.
+
+Right before our popping eyeballs she goes to pieces.
+
+As each one in the band sees what is going on, he stops playing, until
+finally Hotlips is the only one. But the trumpet is in Hotlips' hand,
+and the music is coming from the recording machine we place under his
+chair. The notes are clear and smooth, and you can almost feel the air
+shaking with them.
+
+But nobody notices the music or where it comes from. They are too busy
+watching the thrush, Stella Starlight.
+
+She stands there, her face as white as clay, shaking like a carrot going
+through a mixmaster. And then tiny cracks appear on her face, on her
+arms, even in her dress, and then a large one appears in her forehead
+and goes down through her body. She splits in the middle like a cracked
+walnut, and there in the center, floating three feet from the floor is a
+small flying cuspidor.
+
+Nobody in the room says anything. They just stand there, bug-eyed and
+frightened like anything. Somewhere, across the room, a woman faints. I
+do not feel too well myself, and I am afraid to look to see how Hotlips
+takes this.
+
+There is no sound, but I hear a voice in my mind and know that the
+others hear it too. The voice sounds like it is filled with wire and
+metal and is not exactly human. It says:
+
+"_You win, Hotlips Grogan. I, as advance agent in disguise, tell you
+this. We will go away and leave you and your people alone. We place a
+mental block in your mind, but you outsmart us, and now you know our
+weakness. We cannot stand high sounds which you can play so easy on your
+trumpet. We find ourselves a home someplace else._"
+
+With that, the cuspidor shoots across the room and plows right through
+the wall.
+
+"That's the engine room!" Frankie wails.
+
+There is a sudden explosion from the other side of the wall, and
+everybody decides all at once they would like to be someplace else, and
+they all pick the same spot. The space ferry is pretty crowded, but we
+jam aboard it and drift away from the _Saturn_--musicians, waiters and
+paying customers all sitting in each other's laps.
+
+The _Saturn_ is wobbling around, with flames shooting out at all angles,
+and Frankie is holding his head and moaning. In the distance, you can
+just about make out little specks of cuspidors heading for the wild
+black yonder.
+
+So all is well that ends well, and this is it.
+
+Frankie uses his insurance money to open a rest home on Mars for ailing
+musicians.
+
+Hotlips is all broken up, in a manner of speaking, over Stella
+Starlight's turning out to be not human, but he consoles himself with a
+good job playing trumpet in a burlesque house where the girls wear
+costumes made of glass and other brittle stuff.
+
+ * * * * *
+
+As for me, Mamie gets me a job playing piano at the place where she
+works, and everything is okay except for one thing. When Mamie is around
+I cannot seem to concentrate on my playing. I feel a funny feeling in my
+stomach, like maybe it is full of supersuds or something, and my mouth
+is dry like cotton candy.
+
+I think maybe it is indigestion.
+
+
+
+
+Transcriber's Note:
+
+ This etext was produced from _Fantastic Universe_ August 1958.
+ Extensive research did not uncover any evidence that the U.S.
+ copyright on this publication was renewed. Minor spelling and
+ typographical errors have been corrected without note.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Flying Cuspidors, by V. R. Francis
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FLYING CUSPIDORS ***
+
+***** This file should be named 29749.txt or 29749.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/2/9/7/4/29749/
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at https://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
+https://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need 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 https://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
+https://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 https://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 https://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 including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was 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:
+
+ https://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.