"Next Stop, Nowhere!"

By Dick Purcell

The Project Gutenberg eBook of Next Stop, Nowhere!, by Dick Purcell

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: Next Stop, Nowhere!

Author: Dick Purcell

Release Date: November 17, 2021 [eBook #66760]

Language: English


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

*** START OF THE PROJECT GUTENBERG EBOOK NEXT STOP, NOWHERE! ***




                         "NEXT STOP, NOWHERE!"

                            By Dick Purcell

                It's logical to assume that an elevator
            only travels from one floor to another; yet if
            you think about it--what's between the floors?

           [Transcriber's Note: This etext was produced from
              Imagination Stories of Science and Fantasy
                              August 1956
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]


Four persons disappearing from an elevator should have caused
concern--even excitement. Especially when the elevator was stuck
between two floors. But the thing was handled quite casually. And with
good reason. After all, when a thing is not understood the best defense
against acknowledging ignorance is to insist that nothing extraordinary
happened.

In this case, four persons, a girl and three men, stepped into an
elevator in the Kendall Building. They were all headed for the same
suite--offices occupied by several medical men. The elevator jammed
between the sixth and seventh floors and refused to budge.

The operator, a salty little Brooklynite, swore quietly to himself
and pushed the emergency signal. It rang but nothing happened. The
operator waited for a few minutes, then spoke in a carefully casual
voice, "The blessed engineer is out to supper. Now ain't that the way
things always happen? When the blessed engineer goes out to supper the
blessed elevator does a blessed sit-down between two floors."

"What--what are we going to do?" This from the very pretty female
passenger named Peggy Wilson who was afraid of almost everything and
was going to a psychiatrist who was trying to root a dominating mother
out of the poor girl's subconscious and put the old lady back in her
grave where she belonged.

"We aren't in any danger, miss. We could wait for the engineer but it
might be quite a while."

"It looks to me as though we'll have to wait for him," Walter
Maltby said. Maltby was an ingrown little man who had had a toothache
for three weeks and had finally been driven to the dentist by his
dominating wife.

"Oh, no. If one of you guys--men--will boost me through the trap in the
roof of the car, I can get to the seventh floor door. I'll crawl out
and go down in the basement and move the blessed car to seven by hand."

"Okay," Wilmer Payton said. He was a six-feet-four Greek god with a
body close to perfection and a handsome, intelligent face that was
nothing more than a spate of false advertising pasted across the front
of a vacant head. Wilmer was pretty much of a mental bankrupt. He
didn't even own the furniture in his own cerebral attic, the pieces
having been placed there by others. He had the look of a rising young
executive and was the assistant mail room boy in a large publishing
company. And a good one, too. Lately, they had been entrusting him with
special delivery letters.

He braced himself and the operator climbed on his shoulders and
vanished through the ceiling. A moment later there was a sound of an
opening door and a few grunts and scramblings after which the door
closed and silence again prevailed.

The three passengers glanced at each other fearfully. The fourth, a
small, white-haired man in his late sixties had stood quietly in one
corner during the whole procedure. He had a pair of bright black eyes
and a look remindful of an alert fox terrier in a basement known to
house rats. He was Fleming Carter, a psychiatrist by profession and a
student of almost everything by choice. He was an accomplished linguist
among other things and translated Sanskrit and Hebrew for the pleasure
of it. He was an amateur chemist and also conducted himself ably on a
pair of skis.

So the quartette was not lacking in brilliance, Fleming Carter having
enough to burnish all four.

He had mentally taken his three fellow-prisoners apart and put them
together again when he noticed the girl's trembling and saw her first
tears. Only then did he step forward.

"There is no cause for alarm, my dear--none at all. These lifts fairly
bristle with safety devices. The insurance companies demand it."

Peggy Wilson turned to him gratefully, a little like a kitten, he
thought, which yearned for the reassurance of a soothing hand. _She
would make a beautiful Persian_, he thought. A perfect house pet.

"But to be trapped here--like--like animals," Peggy whimpered. "It's
terrible!" She was moving toward Fleming Carter's shoulder, but Wilmer
Payton took a single step forward and her head turned quite naturally
to _his_ bosom. Fleming Carter smiled and estimated to a nicety the
intelligence of any offspring that would result from a mating of these
two vacuums.

"It's all right, baby," Wilmer said. "I'll take care of you."

Walter Maltby had troubles of his own. He now voiced them: "Jenny will
be furious if we don't get out of here pretty quick. I'm always home
for Television Theater and if I don't make it--"

He got no further because at that moment the foundations of the world
seemed to give way and the four of them were hurled into a heap on the
floor.

Or were they?

This question was in Fleming Carter's mind as Peggy Wilson screamed,
Walter Maltby whimpered, and Wilmer Payton bellowed in terror. _Had_
the lift fallen--the building collapsed--an atom bomb exploded?
His instincts told him no. This because--while all the outward
manifestations of such catastrophes seemed apparent--there was
something strangely different about the sudden chaos into which the
group had been thrown.

Fleming Carter felt they should all be dead. But they remained very
much alive. They should have been at least mangled and maimed. None
appeared even scratched.

All this, Carter told himself firmly, was a chaos of the mind and
nothing more. It was mental panic of such violence that it was
manifesting in the physical. He told himself this while he sought to
maintain equilibrium while standing upon nothing and wondering where
such a terrific wind could come from in a sheltered elevator shaft.

Then it was over. The hurricane subsided; the floor stiffened beneath
them and they were lying in a heap--a heap made interesting by Peggy
Wilson's legs sprawled above the others in a very unladylike manner.

Wilmer Payton groaned.

"Shut up," Fleming Carter said sharply. "Don't start a wave of panic
and hysteria. You aren't hurt!"

"How the hell do you know I ain't?" Wilmer Payton demanded with
childlike docility.

"Because I'm not and no one else seems to be and we all fell the same
distance."

Fleming Carter began to extricate himself from the pack. This
necessitated pressing rather personally against Peggy Wilson. He did
what he had to do and then drew the girl's skirt down as gently and
hastily as possible. He was relieved to find she was in no shape to
care what anyone did with her skirt.

       *       *       *       *       *

Meanwhile, the elevator operator, upon finding he could not move the
elevator, returned to reassure the occupants. He went to the seventh
floor and called down very cheerily, "Everything's all right, folks. If
this'd happened before six o'clock there'd be plenty of blessed people
around, but it's almost seven and the engineer ain't back from supper
yet. It won't be but a little while though, and then--"

The operator became aware that only silence answered him. Had they been
scared dumb? "You--hey you--down there--"

More silence. The operator frowned and crawled down into the shaft. He
looked through the trap. Empty. "Well I'll be damned!" he said. And
because an obvious situation was covered by an obvious answer, added,
"All four of them crawled out and went home. Funny they couldn't stick
around a few minutes."

He did not ponder the difficulties involved in such an escape. The only
direction they could have gone was up and out on the seventh floor. He
thus accepted the obvious. And his only thought on the subject was that
he'd like to have been the one to boost the girl up.

Later, he bawled the engineer out and that was that so far as he was
concerned.

But the situation was far less simple for the four passengers. As
Fleming Carter struggled to his feet, Walter Maltby used his leg for a
ladder and came erect also and said, "I'll bet Jenny will sue somebody
for this! Jenny won't let them get away with it! Not for a minute."

Wilmer Payton was also on his feet looking dully about him. Fleming
Carter said, "Why don't you help the lady, young man? I'm sure she
would appreciate the courtesy from you more than myself or--?"

He looked questioningly at the other male member of the quartette.

"Walter Maltby--and as I was saying, Jenny will never--"

"I'm sure she won't."

"What happened?" Wilmer Payton asked of no one in particular as he
hauled Peggy Wilson to her feet.

The girl was biting her lip, trying hard to be brave. "The elevator
must have fallen. It's a wonder we weren't all killed!"

They agreed. All save Fleming Carter who was looking around with bright
interest. "It seems to me that we are no longer in the elevator."

Walter Maltby's jaw dropped. "No longer in the--"

"This is a somewhat larger area. And I fail to see any walls. Also, the
ceiling seems to have vanished."

The other three gazed about in shocked silence and the truth of Fleming
Carter's statements dawned on them. No walls, no ceiling. Nothing but
hard earth under their feet and a high blue sky above.

"Why we're out--out in the country!" Peggy Wilson babbled.

"I agree," Fleming Carter said. "But let's not get panicky. We are
still alive and unhurt."

"But I don't understand it," Walter Maltby said, plaintively. "I just
don't understand it."

Fleming Carter regarded the little man with pity. No Jenny around to
reassure the little man with her domineering bulk. Carter knew as a
matter of course that Jenny would be both bulky and domineering.

Carter looked about him. They were out in open country--that was
obvious. There was a huge sun and a huge blue sky and huge clouds
floating overhead. Everything in place but something very wrong.

Things were just too big.

That was it, Carter told himself. The size of this new world was far
out of proportion to the size of him and his new friends. They were
all standing in coarse grass that reached their knees--high grass--but
Carter realized instantly that the grass was not high. They themselves
were short!

       *       *       *       *       *

Wilmer Payton, holding Peggy Wilson in the crook of one arm, looked
about through eyes that obviously sent no intelligent messages to his
brain. He turned them on Carter and said, "I don't get any of this."

"I think I know what happened," Carter said.

This even caught the interest of Walter Maltby who was wondering what
Jenny would have to say about his not arriving home on schedule. "What
_did_ happen?"

"We've fallen--or were snatched--through some sort of a space-time
warp."

Wilmer Payton gaped idiotically and said, "We did _which_ through a
_what_?"

Fleming Carter seemed not to hear. He was staring pensively at the
thick blades of grass that brushed his knees. "There are more things in
heaven and earth, Horatio--" he mused.

"There ain't nobody here named Horatio," Wilmer said sullenly.

"Excuse me. My mind was wandering," Carter's mind was not wandering at
all, however. He said, "There are certain unexplained phenomena that
are believed to have happened in our world. People have been known to
disappear mysteriously and those who remain behind formulate theories
as to the how and the why of their vanishing. It is believed by some
that people can be moved, under certain conditions from one plane of
existence to another--that there are many of these so-called planes of
existence where many and varied peoples live and breathe upon them.

"Of course, no proof has ever been found for these theories because
the vanished persons never came back to testify, but--" Carter stopped
suddenly and regarded the three with a touch of compassion. "You
haven't the least idea what I'm talking about, do you?"

"I'm afraid not," Walter Maltby said timidly.

"Well, never mind. Perhaps I don't either. In any case, existence is
its own excuse for accepting any locale. Suffice it to say we are now
in a world that was not built for us--a world for creatures of far
greater dimensions than ourselves--and how we got here is really of
little importance."

Peggy Wilson was now snugly in Wilmer Payton's arms, her head tight
against his chest. Wilmer was just opening his mouth to say something
when, over the slope of the land, a huge form appeared. There was
nothing mystifying about it. The creature was obviously a man. He
wore rather strange loose clothing that, Carter thought, had some
resemblance to those of the ancient Greeks. But otherwise there was
nothing different about him except his size. As he approached, Fleming
Carter estimated that Wilmer Payton--the tallest of the four--would
about come to the top of his odd sandal-like footgear.

There was no panic now--the three being completely frozen with terror
and Carter statue-quiet and sharply alert. The giant, he was sure,
would pass within two hundred yards of them. A distance dangerously
close considering the man's size.

Still, Carter was optimistic. There was no reason why the giant should
see them. As things were, they could certainly hope to be overlooked.

But Peggy Wilson dashed this hope as the pressure within her became too
strong to contain and broke out in the form of a scream.

The giant stopped, took a few quick steps in their direction and was
upon them. Carter knew then, that they were lost. A huge hand swooped
down and lifted Walter Maltby into the air. Far above, Carter saw the
terrified Maltby being transferred carefully to the giant's other
hand. Now Wilmer Payton and Peggy Wilson were running blindly in two
directions, Peggy having been suddenly deserted by her protector. Twice
more the huge hand descended and the two also vanished into the vast
palm.

Apparently, the giant overlooked Fleming Carter who had stood quite
still during the whole time. But Carter made a swift decision based
more on charity than good sense. Somehow, he could not leave those
three to their fate. So he cried out and waved his arms. "Just a
moment! You overlooked me!"

The hand swooped down again as the giant saw him.

       *       *       *       *       *

Carter Fleming found himself resting comfortably with his face against
someone's back. Otherwise he was completely surrounded by soft flesh.
He realized they were being handled carefully however so he felt that
death, while definitely a threat had been at least postponed. He
wondered about the others, so close to him and yet so far away so far
as contact was concerned. He knew the terror that raced through their
minds and he pitied them....

The giant was continuing on, Carter decided, and he endured the ride as
best he could.

Then it terminated suddenly as Carter and the others were very gently
tumbled into a room. The room had no ceiling but this situation was
speedily remedied when a ceiling was lowered and set into place above
them. In the resulting darkness, Carter heard Peggy Wilson sobbing and
various unintelligible noises from Maltby and Payton. Then the room
began suddenly to move in haphazard directions.

Possibly this was finally the end, but Fleming Carter could not bring
himself to think so. Because even though the room pitched and tossed,
Carter felt it was being done rather gently by the giant hands.

Then it was over. The room settled down and remained on solid base.
Immediately there was a rending sound and a vast finger was thrust
through the wall just below ceiling level. The finger was withdrawn but
only to reappear when thrust through the other side.

It vanished again and the two resulting holes let in ample air and
light.

For a few moments Carter and the other three sat motionless, waiting.
Something was going on outside the room--the room itself moving
slightly--but the violent tossing was evidently over.

Peggy Wilson spoke first--or rather, sobbed. "Where are we?"

"I'm sure I don't know, my dear, but if I stood on the young man's
shoulders I could look out through one of those openings and perhaps
learn a little something."

"You want me to lift you?" Wilmer Payton said dully.

"That is the general idea," Carter replied in a gentle voice.

Wilmer braced himself against the wall and Carter clambered to his
shoulders and cautiously pushed his head through the opening. He
remained thus for quite a while--until Wilmer Payton began moving
restlessly. Then he clambered down.

They waited for him to speak but he said nothing. He stared at the hole
with a look of amazement upon his face as though, for the first time
the wonder of this strange transition had struck him forcibly. Then
he turned his eyes upon his three companions and there was a look in
his eyes that had not been there before; personal, yet impersonally
analytical. A hard look to read, so they could have no way of knowing
that he was trying to forecast how they would react to the fate that
awaited them.

"Well," Wilmer Payton demanded impatiently. "Did you see anything?"

"Yes. This is not a room. It is a huge box of some sort. It is bound
around on all sides by what looks like red carpeting of a width used
in hallways. I believe such carpetings are called runners. Attached to
the top is a large white sail although it appears to be made of paper
rather than canvas." He was watching them closely as he spoke.

"It took you all that time to see those things?" Walter Maltby asked a
trifle plaintively.

"No. There were other things."

At this point Peggy Wilson, coming out of her shock, began to
cry hysterically. "My God! What's to become of us? We'll all be
killed--murdered!"

"I don't think so," Carter said.

"Then we'll be held prisoner. That will be just as bad!"

"In a sense, you will be held prisoner--but I don't think it will be
bad. I think our jailer will probably be a rather kindly person who
will give us every consideration."

"How could a jailer do that?" Peggy Wilson moaned.

       *       *       *       *       *

Carter laid a hand upon her shoulder. "Consider, my dear. All your life
you have needed a mother. Now you will have the equivalent of one." He
turned to Walter Maltby. "And you. You have learned to function only as
a result of a dominating wife's promptings. Our jailer will fill that
role for you."

Lastly he regarded Wilmer Payton. "You, young man will be directed and
guided. You will not have need of the brain power with which you are
not equipped.

"All of you will be content. None will have any decisions to make--all
will be taken care of. Can you think of a more pleasant destiny?"

Walter Maltby said, "You're talking in circles. Talking but not saying
anything!"

Carter had turned away, smiling. "This is very strange. We were
transported to another plane, but not snatched up willy-nilly. There
was a pattern behind it. Three people admirably suited to their new
fate."

Wilmer Payton seized Fleming Carter by the arm and whirled him around.
"Will you please tell us what you're talking about?"

"Of course," Carter said quietly. "To speak the absolute truth, we are
in a box. The box is tied with a wide red ribbon. The thing I called
a sail is in reality a greeting card upon which certain words are
written; words not too difficult to decipher."

"Well, go on--what are the words."

"In English, they would read--'Happy Birthday, Darling.' You are
someone's birthday present."

Peggy's face was ashen. "You speak of _us_," she whispered. "How well
suited _we_ are for this fate. What about yourself?"

Carter smiled. "I expect this to be the most interesting period of my
life," he said. "You see, the present is for me. I picked it out."

And as they watched in stunned amazement, Carter began to grow.

*** END OF THE PROJECT GUTENBERG EBOOK NEXT STOP, NOWHERE! ***

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-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 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-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
www.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 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-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 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-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 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-tm 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-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 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-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 the Project Gutenberg Literary Archive Foundation, the manager 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
works not protected by U.S. copyright law 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 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-tm 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-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 forty 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 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-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.