The Project Gutenberg eBook of Felony

This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Felony

Author: James Causey

Illustrator: Vidmer

Release date: April 8, 2010 [eBook #31922]

Language: English

Credits: Produced by Sankar Viswanathan, Greg Weeks, and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK FELONY ***

Transcriber's Note:

This etext was produced from Galaxy Science Fiction July 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

FELONY

By JAMES CAUSEY

Illustrated by VIDMER

Vogel started with crossword puzzles ... and worked his way up to Man's greatest enigma!

hen he was nine, Vogel almost killed another boy who inadvertently scattered his half-completed jigsaw puzzle.

At sixteen, he discovered the mysteries of the Danish Gambit, and cried.

At twenty-two, he crouched in a foxhole on Okinawa, oblivious to the death bursting about him, squinting in a painful ecstasy at the tattered fragment of newspaper on his knee. His sergeant screamed in agony, then died at his elbow. Vogel's face lit up. "Slay," he said happily, scribbling. As crossword puzzles go, it had been a toughie.

At thirty, he was Production Manager of Sachs Fixtures. His men hated him. The General Manager loved him. Tall, gaunt and ruthless, he could glance at any detail print and instantly pinpoint the pattern of final assembly, total man-hour budget and fabrication lead time.

Once, he made a mistake.

On a forty-thousand-dollar job lot he estimated too high on production scrap. When the final assemblies were completed, they had two feet of bulb extension left over. It disturbed him. He spent that evening in his den brooding over chessmen. His wife let him alone.

Next day, he hired Amenth.

ersonnel called that morning and apologized. "No experience, but amazing shop aptitude. He's coming down to you for an interview."

"I want," Vogel said into the phone, "three bench men. By noon. With shop experience."

Personnel was sorry. Vogel snarled and hung up.

"Hello, please, sir," said a voice.

Vogel stared, icily.

Meekness cowered in front of his desk. Meekness in the form of a small birdlike person with beseeching amber eyes.

"I am Amenth," he said, cringing.

Vogel eyed the olive skin, the cheekbones, the blue-black hair. "A wetback," he said. "Three men short and they send me wetbacks. You know sheet metal, buster?"

"I am not of the understanding," Amenth offered. "Experience, no." He beamed. "Aptitude, yes."

Fighting apoplexy, Vogel took him out into the shop. Amenth cringed at the howl of air tools and punch presses. Vogel contemptuously took him by the arm and led him to a workbench where a wizened persimmon of a man performed deft lightnings with rivets and air wrench.

"Benny, this is Amenth. He's new." Vogel pronounced it like a curse. "Get him some goggles from the crib, a rivet gun."

Vogel returned to his office scowling. The phone rang almost instantly.

"Boss," said Benny, "he's from nothing—all thumbs with an air wrench and he don't know alclad from stainless."

"Be right out," Vogel said, hanging up.

Before he had a chance to fire Amenth, the Fabrication Super came in with a production problem. Vogel solved it, but it was almost an hour before he returned to Benny's bench—and stared.

Amenth was a blur of motion. His Keller chattered like a live thing.

A furious sweating Benny snapped at Vogel, "You playing practical jokes? Look, this guy's gone crazy, he's fifty per cent under standard! Tell him to slow down before I file a grievance."

Amenth beamed. "I am of the aptitude," he said.

A queer deep tingle went through Vogel. The crystal delight of challenge he felt when confronted by an apparently impregnable fianchetto.

That was the first day.

  week later, Vogel was compiling a progress report from completed shop travelers. Abruptly he scowled at one traveler, then said, "Charlie!"

"Yes, sir," one of the planners said.

"Why didn't these galley panels go out for drop hammer?"

Charlie peered at the form and whistled. "Somebody must have changed the planning sheet."

"Get me the story!"

Charlie went hurriedly out into the shop.

Some time later he returned with a pale dazed look. "It's this guy in assembly," he said. "Name is Amenth. He didn't even read the traveler. Just looked at the attached detail print and decided to miter the edges, then reverse the flange with a weld." He threw the completed part on Vogel's desk. "Go ahead, check those tolerances," he said whitely. "Right on the money."

Vogel walked over to a calculator and figured. There was a dreamy expression in his eyes. He said softly, "All fabrication in our own shop. A net saving of 93 cents per unit, or eight hundred dollars total. I believe you planned this item, Charlie."

Vogel fired him.

That same afternoon Amenth came into the office on Vogel's order. "Sir?"

"Don't you know how to read a traveler?" Vogel asked sternly.

"It was a lucky accident." Amenth looked terrified. "I just read the print—"

"And did what seemed logical." Statement, then a very quiet question. "What happened to your accent?"

The little man looked blank.

Vogel took a slow deep breath. "I've got a material planning job open," he said tightly. "Three-fifty to start. Interested?"

For a moment he thought Amenth would lick his hand.

The little man took to planning sheets like a duck to water. He pored feverishly over blueprints, turning out travelers in a steady flood.

Vogel watched him. He went over to Personnel, requested Amenth's employment application, read it and scowled. It was a masterpiece of anonymity. Birthplace: New York. Former Occupation: Laborer. Hobbies: None. He memorized Amenth's address and returned the application.

Vogel always ate lunch in the office with his expediters. That noon two of them got into an argument about the planets.

"I say there is life on Mars," Pete Stone insisted stubbornly. "When the polar ice cap melts, the water runs along the canals and traces of green from growing vegetation can be spotted."

"Which proves nothing," Harvey Lamb yawned. Lamb was chief expediter. "Man couldn't live there, anyway. There's not enough oxygen."

"You would be amazed," Amenth said quietly, "at the adaptability of Man."

Vogel set down his thermos and leaned forward. "You mean Martians, for instance, could live here, assuming they existed and had spaceships?"

Amenth's smile was infinitely bitter. "Until they'd go mad."

The talk turned to baseball. Vogel lit his pipe and gave Amenth a surreptitious glance. The little man slumped in the corner, bleak and withdrawn.

This was delicious.

ogel left the shop and drove across town to Amenth's address. It turned out to be an ancient rooming house on the West Side. Mrs. Reardon, the landlady, was an apathetic woman who brightened when he asked her about Amenth.

"He moved in just three weeks ago." Her face softened in recollection. "He was like a lost dog coming in out of the rain. Couldn't hardly speak English and he wanted me to trust him for the rent. I must have been crazy." Her nostrils flared. "Not that he hasn't paid up. Are you a cop?"

Vogel nodded as he took out his wallet. In it was his honorary sheriff's badge, but he doubted if the woman would know the difference. She didn't. She led the way upstairs to Amenth's room, worrying, and Vogel assured her they were only looking for a hit-and-run witness, that it was strictly routine.

Amenth's room was incredibly aseptic, barren of pictures, ash trays, dirty laundry, any of the normal masculine debris. Vogel got the stark impression of a convict's cell. In the bleak dresser were two pair of socks, underwear, one tie. In the closet hung one white shirt ... period. Everything wore an indefinable patina of newness. Two books graced the top of the dresser. Vogel recognized one of them, a text on fabrication and design which Amenth had borrowed from his office. The other was a child's primer of English.

"He stays in his room almost every night—reads mostly, and he speaks English much better now," said Mrs. Reardon. "A good tenant—I can't complain—and he's quiet and clean." She described Amenth and Vogel shook his head.

"Our man is about sixty, with a beard," he said. "Funny coincidence. It's a strange name."

Mrs. Reardon agreed.

Vogel drove back to the shop, whistling.

He did not go to his chess club that night, but went to the library instead. He read about Flying Saucers, about space travel, about the possibility of life on other planets. Sometimes he chuckled. Once he frowned deeply and bit his lip.

That night in bed, listening to his wife's shallow breathing, he said, "Alice."

"Yes?"

"Supposing you were lost on a desert island. What would you do?"

"I'd build a raft," she said sleepily.

Vogel smiled into the darkness.

Next day he made a systematic tour of the stockroom, scanning the racks of completed sub-assemblies, the gleaming fixture components, the rows of panels, brackets, extrusions, all waiting like soldiers to march from the stockroom into final assembly.

Vogel suddenly grunted.

There, half hidden behind a row of stainless-steel basin assemblies, was a nine-inch bowl. He examined it. The bowl was heavy and shiny. There was no part number stamp, and the metal was not alclad, not stainless, not cad nor zinc. Five small copper discs had been welded to the lower flange.

Vogel carefully scraped off a sample with a file. Then he replaced the part in the stock rack and went into his office where he placed the sample in an envelope.

That afternoon he ranged the shop like a hound.

In the shipping crib, he found a half-completed detail that struck a chord of strangeness. Two twisted copper vanes with a crumpled shop traveler signed by Amenth. The next operation specified furnace braze. Vogel squinted at the attached detail print. It was a current job number.

He spent the next two hours in the ozalid room, leafing through the print files. The job number called for a deep-freeze showcase, and there were exactly two hundred and seven detail drawings involved.

Not one of them matched the print in shipping.

After an almost silent dinner at home, he sat smoking his pipe, waiting for the phone to ring. It rang at eight.

"It's platinum," Carstairs said. Tim Carstairs was a night-shift chemist. "Anything wrong, Mr. Vogel?"

"No." Vogel paused. "Thanks, Tim." He hung up, glanced at his fingers. They were shaking.

"You," Alice said, "look ready to call mate in three."

"I'm going over to the shop," he said, kissing her. "Don't wait up."

e was not surprised to see the light on in the parts control section. Amenth was writing planning sheets.

"I don't believe we authorized overtime," Vogel told him mildly, hanging up his coat.

"Just loose ends." Amenth's smile was nervous. "Tying up these burden charts. I'm on my own time."

"Thought I'd set up next month's budget." Vogel sat at his desk. "By the way, what did you do before you came here?"

"Odd jobs." Amenth's lips twitched.

"Your family live on the coast?"

Sweat glistened on the little man's forehead. "Ah—no. My folks passed on years ago."

Cat and mouse.

"You've done good work lately." Vogel yawned, studying the progress chart on the wall. Behind him he heard a soft exhalation of relief, the furtive rustle of papers as Amenth cleaned off his desk.

When Amenth finally left, Vogel went over to his desk and methodically ransacked the work in process file. It took him two hours to find what he was looking for.

One: A schematic detail on graph paper which resembled no type of circuit Vogel had ever seen.

Two: Fourteen completed shop travelers on which were typed clearly, Call Amenth upon completion. That was not unusual; most expediters wanted to be notified when a hot part hit Inspection. The unusual part was that no inspection stamp had been placed opposite the final operation of Inspect, Identify, Return to Stock. Ergo, Amenth had inspected and stocked the parts himself.

Three: A progress chart with dates, indicating four detail parts still remaining in fabrication. Final assembly date—tomorrow!

The following afternoon, Vogel sat alone in the conference room. The door opened and Amenth came in. "You sent for me, sir?"

"Sit down, Amenth. Let's talk a while."

Amenth sat down uneasily.

"We're considering you for promotion," Vogel said, silencing the little man's protests with a deprecating wave. "But we've got to know if you're ready. Let's talk about your job."

Amenth relaxed.

They talked shop for a few moments, then Vogel opened a folder, took out his watch. "Very good," he said. "Now let's check your initiative potential." As Amenth stiffened, Vogel reassured him, "Relax. It's a routine association test."

For the next ten minutes he timed Amenth's responses with a stop watch. Most of the words were familiar shop words and most of the responses were standard.

"Job."

"Escape," Amenth said instantly.

"Blueprint."

"Create."

"Noise."

"Hate."

"Want."

"Home!"

It was all so childish, so obvious, and Amenth's eyes were frightened amber pools when Vogel dismissed him. No matter. Let him suspect. Vogel studied the reaction results with grim amusement.

Outside, the shop roared.

And Amenth's travelers sped the rounds: Issue material; Shear to size; Form on brake; Weld per print; Miter, drill, inspect, stock. One by one, the strange details were being formed, finished, to lie inert in the stockroom, to await final assembly.

Assembly.

Of what?

Tonight was project completion.

idnight.

Vogel stood in darkness, leaning against the wall. He was tired. He had maintained this vigil for three hours. His right leg was numb and he started to shift position, then froze as he heard footsteps. Three aisles over, a light exploded, blindingly. He held his breath.

From outside in fabrication came the muffled clang of drill press and power brake, the sounds of the night shift. He waited. Three aisles over, something moved. Someone fumbled in the stock bins, collecting shaped pieces of metal, grunting with the effort of piling them on the salvage bench, now panting with impatience while assembling the parts. There was a hammering, a fitting together, a flash of light, a humming of power and finally a sob of relief.

Vogel's hand slipped into his coat pocket and grasped the gun. He moved silently.

Amenth stood at the salvage bench, adjusting studs and connecting terminals. Vogel stared at the final assembly.

It was a helmet. A large silvery helmet, connected to a nightmarish maze of wiring, mounted on a rectangular plastic base. It hummed, although there was no visible source of power. Amenth put on the helmet with a feverish haste. Vogel chuckled. Amenth stood motionless. Then as his hand darted toward a stand, Vogel said sharply, "Don't!"

Amenth stared at the gun.

"Take it off!" Vogel's voice was iron.

Amenth slowly took off the helmet. His eyes were golden with tears. "Please," he said.

"Mars or Venus?" Vogel said. "Which?"

"N-neither. You could not grasp the concept. Let me go. Please!"

"Where?" Vogel prodded. "Another dimension?"

"You would call it that," the alien whispered. Hope brightened his face. "You want something? Wealth? Power?"

It was the way he said the words, like a white trader offering his aborigine captors glass beads to set him free.

Vogel nodded toward the circuit. "That hookup—you tap the gravitational field direct? Cosmic rays?"

"Your planet's magnet force lines. Look, I'll leave you the schematic diagram. It's simple, really. You can use it to transmute—" He babbled on with a heartbreaking eagerness, and Vogel listened.

"In my own world," said Amenth brokenly, "I am a moron. A criminal moron. Once, out of a childish malice, I destroyed beauty. One of the singing crystals." He shuddered. "I was punished. They sent me here—to the snake pit. Sentence for felony. This—" he indicated the helmet—"would have fused three seconds after I used it. So, incidentally, would this entire shop. I had no time to construct a feedback dispersion."

"Tell me about your world," Vogel said.

Amenth told him.

Vogel's breath hissed softly between his teeth. All his life an unformed vision had tormented him, driven him toward perfection. Abruptly the vision was reality. He smiled, moved forward. "You shouldn't have told me."

Amenth saw the intent in his eyes and started to beg. Vogel clipped him behind the ear.

He put the helmet on, gingerly. The electrodes tingled against his temple and his grin was wry as he thought of Alice. Then he depressed the stud.

Vogel sobbed.

olor blinded him, rainbows blared in sweet, sparkling thunder. He whimpered, covering his eyes. The music drowned him in a fugue of weeping delight. Slowly he raised his head.

He stood ankle-deep in gold crystals that stretched out forever in a splendid sea of flame. The crystals sang softly, achingly, to a silver sun in an emerald sky. A grove of blue needle trees tinkled in ecstasy on his left. And beyond those trees....

The city sang.

White spires foamed skyward in impossible cataracts of glory. A glissando of joy burned his eardrums, and he could not face that living splendor. It was the city beyond dreams, beyond legend, the city where all dreams end. He strode toward it, raptly.

The crystals screamed. The blue needle forest lashed wildly, and terror shivered through the air in shrieking dissonance.

From the blue forest, people ran. Beautiful people, with great golden eyes and scarlet tunics. They could have been Amenth's brothers and sisters. They stared, horror and revulsion twisting their faces. They started toward him.

Vogel understood.

If destroying beauty on this world was a crime, then killing ugliness must be a duty.

On this world, he was ugly—

—JAMES CAUSEY

*** END OF THE PROJECT GUTENBERG EBOOK FELONY ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate.

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: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

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

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.