The Project Gutenberg eBook of The Vault
    
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: The Vault

Author: Murray Leinster

Release date: August 18, 2021 [eBook #66081]

Language: English

Original publication: United States: Pro-Distributors Publishing Company, 1922

Credits: Roger Frank and Sue Clark


*** START OF THE PROJECT GUTENBERG EBOOK THE VAULT ***





THE VAULT

By Murray Leinster




I


The window slid up easily–too easily–and Mike waited a long time,
listening, before he made a move. The whole huge pile of the factory
was still. There were no lights anywhere, except that dim one by the
gate through the stockade. Lying quite still in the darkness, Mike
waited. There was no sound, no ringing of alarm bells, no bustle of
activity anywhere. The manufacturing plant of the Whitney Jewelry &
Watch Company remained as it had been before, a vast, still pile of
brick, with empty-eyed windows staring blankly at the night.

And yet.... That window had opened very easily. Mike meditated, his
little eyes gleaming in the darkness. Then he saw a tiny flicker of
light in the distance. The window he had opened was at the end of a
long corridor, and he saw the watchman walking unhurriedly away from
him. The watchman’s legs threw monstrous shadows from the lantern he
carried, Mike could not see his face, but he could see the uniform
and note the absolute leisure and confidence with which the man was
moving. He paused, as Mike watched, and inserted his key in a
watchman’s clock. He turned it, registering his presence and
vigilance on a strip of paper within the mechanism. Then, casually,
he went on his way. In a few moments he turned a corner and was lost
to sight.

Mike grinned to himself in the obscurity. With monkey-like agility
he scrambled through the open window, making no sound. Once within
the walls of the factory he waited another long minute for a noise.
Distant and hollow, he heard the watchman’s footfalls, unhurried,
methodical, as he made his round.

Then, softly, Mike lowered the window. He wore rubber-soled shoes.
His eyes were those of a cat, and his ears were attuned to the
slightest warning of danger, but he heard no faintest sound–not even
his own footfalls–save the distant, regular steps of the watchman.
The watchman wore creaky shoes.

Like some night-flying moth the intruder slipped through the
corridors of the untenanted factory. All about him there were
smells. Oil–that would be the delicate lathes where precious metals
were worked. Once he smelled fresh paint. And there was that curious
odor of freshly-mopped floors. The scrub-women had come after the
closing of the factory and done their work. Then he smelled faded
flowers. Someone had brought them and put them in a glass of water,
and they had been left.

Mike paid little or no attention to smells. The place he sought was
on the second floor, in the rear–the colossal vault where all the
precious things in which the factory dealt were gathered for safety
during the night. He made his way there, silently. Every little
while he stopped to listen for the unvarying footfalls of the
watchman. They went on, unsuspicious and confident.

Through an arduous and twice interrupted apprenticeship in his
chosen trade–interruptions spent perforce behind stone walls–Mike
had had drilled into him just two things. One was the fatality of
haste. The other was the necessity for scientific, painstaking
attention to detail. Therefore, Mike let his flashlight slip over
the huge surface of the vault door with barely a pause. He knew the
watchman would look in on it as he went downstairs. Primarily, he
was looking for a place to hide during that moment.

There was a door in the room which contained the vault, but Mike was
not certain but that the watchman would return through it. He swept
his light around the room–keeping it low, lest it flash out through
a window–and regretfully decided against remaining. He went out
again, swiftly and silently, looking for a hiding-place.

He found it in a washroom, and listened from there while the
watchman retraced his steps, coming downstairs again, going to the
vault and throwing the glow from his lantern against it, then
clumping off heavily to the lower part of the factory.

Mike emerged from hiding. He inspected the vault room with greater
care. He would have to work in snatches, between visits from the
watchman, and he did not want to have to tap the man on the head.
There are a great many systems of burglar protection, and one very
popular one signals the nearest police station when a watchman fails
to ring his time clock at the appointed intervals. Mike did not
desire the intrusion of the police, but he wanted a nearby niche to
hide in.

The watchman’s footsteps died away. Mike waited to be sure, then
opened the door he had noted. To be exact, he did not quite open it.
He merely turned the knob, and a heavy weight leaning against it
thrust it the rest of the way open, caromed clumsily against him,
and fell with a curiously cushioned crash to the floor.

Mike’s hair stood on end. In the fractional part of a split second
he knew what had struck him, and he bounced into the air to alight
noiselessly a full five feet away, ready for anything. But the thing
lay still upon the floor, breathing.

Slowly and cautiously Mike sent a momentary dart of light at it.
What he saw at once reassured him and frightened him, because it was
the last thing he could possibly have expected. It was a man–which
he had known–but it was a man with his hands and feet bound together
with leather straps, and so entwined with ropes that he could not
even writhe. There was a gag in the figure’s mouth, and its eyes
were staring wildly about.

Mike was still for perhaps two seconds, while his brain raced. Then
he sent a tiny pencil-beam at the vault door. It was closed,
solidly. No one had been before him. But there was a man bound hand
and foot....

The light played upon him again. He was a young man, dressed as if
he were a clerk or a bookkeeper in the factory. His eyes blinked and
stared imploringly at Mike. There was some message, some terrible
message, that he struggled to convey, but the gag prevented him.
Mike watched him for an instant in mounting uneasiness and
suspicion. That window had slipped up too easily....

Suddenly there was a tiny creaking, as of a board stepped upon. Mike
heard it, catalogued it and had dismissed his obvious refuge in an
instant. Someone was coming, softly, toward the spot. Perhaps the
watchman, alarmed by the crash. He would certainly find the bound
man, but it might be that he would waste precious time releasing
him.

Tensely Mike swept the walls again. He could not go out the main
door. He would run into the watchman. The one door he had noted was
that of a closet. There was another, close beside the back of the
vault.

Dense blackness fell. A shadow but little deeper than the darkness
about him, Mike flitted across the room. He vanished, utterly
without sound.

Then a faint scratching sound. The bound man was struggling to
release himself, struggling with a terrible desperation and a
horrifying futility. Mike, crouched down in a tiny book-closet,
heard it. He was keyed up to an incredible pitch, every nerve
quivering like a tightly-strung wire. Mike was no longer intent upon
robbery. One of the first rules of your old-time safe-cracker is to
go through with a job only when everything is right. Mike was as
suspicious of the unexpected as any wild animal. Just now his only
desire was to get away–peacefully, if possible, but to get away.

He lay still. The scent of books and dust came to his nostrils, but
he did not dare make a light to see. He smelled, too, that curious,
rubbery smell of new electric insulation. There were wires in the
closet somewhere, newly placed. Mike lay still.

Then he felt, rather than heard, someone enter the vault-room. There
was a door between him and the newcomer, but he knew the instant
that the other man entered. There was a moment of silence. Mike saw
an infinitely faint glow through the keyhole. Someone was using a
flash.




II


Frozen in utter stillness, Mike listened for the watchman’s
exclamation of astonishment at sight of the bound man on the floor.
Instead, he heard only a faint murmur. Then he caught words, faintly
amused.

“Just got out, Jack, eh? I heard you fall. Out of luck, though. The
watchman was in the other building. I saw him go in. He didn’t hear
you.”

Then little noises as if the helpless man were being turned
over–inspected to make sure the bonds were firmly in place. Then
Mike felt that the last-come man was somewhat relieved.

“Don’t know how you got loose, Jack,” said the voice, as before kept
lowered, “but you didn’t do any harm, anyhow. And the watchman won’t
be back for an hour yet. I’ll be getting to work.”

There was a sound like a groan, as if the bound man were trying to
make some sound or plea; but footsteps crossed lightly to the vault.

“Wondering, Jack, who I am, or did you recognize me?” The second man
had stopped before the vault door. Mike heard an infinitely faint
rustling, as of thin rubber being manipulated. He guessed at rubber
gloves. “I think you must’ve recognized me when I slugged you.
Anyway, since I asked you to wait a minute after office hours and
then hit you with a sandbag, you must have guessed, while you’ve
been waiting, that I was responsible for the matter.”

There was a little pause and a slight snapping sound, as if an
elastic had been flicked into place.

“Yep, Jack, I’m Saunders, your boss. Don’t mind telling you, now,
because you’re not going to split on me. I’m going to loot the
safe–clean, this time, and quit. By the way, Jack, I’m putting on
rubber gloves, but, rather curiously, they’ll leave your
fingerprints on the safe knob. You see, I’ve done this twice before.
Once I got away with a lot of bullion and a few indifferent stones.
That was a year and more ago and everyone’s grown careless since
then. I managed to plant it so the watchman was suspected. He’s in
jail now. And then, once, I fixed up the matter so that a theft of
some finished stuff was discovered while I was on vacation. They
never suspected me. But this time I’m going to clean out the works,
all the bullion, all the stones, and tomorrow’s payroll.”

The unknown’s voice changed, and grew intent. Mike, in the dusty
little closet, could hear a muted, musical tinkle, as he spun the
combination knob.

“Got your fingerprints some time ago, Jack, when you knew nothing
about it. I brought ’em out, photographed them, and contrived to fix
them on the ends of these rubber gloves. I’ve run ’em through my
hair, so they’ll be slightly oily, and they’ll convict you
completely of opening the safe. I’ll have to use a microphone,
myself, to hear the tumblers fall.”

Mike was listening with a curious mixture of fear and indignation
and curiosity. He, himself, had a microphone apparatus in his
pocket, which he had intended to use. The other man had beat him to
it. Mike began to revolve a misty scheme for following the other man
and taking his loot away. There was a clanking as of tiny bits of
metal being fitted together.

“I rather think, Jack,”–the voice became amused,–“that you’re
thinking of the trap that’s fixed for any man who breaks into the
safe. Aren’t you?”–A moment of silence–“So that even if someone gets
inside the vault, when he touches one of several things he’ll set
off a switch, have the doors swing shut and lock on him, and ring a
loud bell in police headquarters? I suggested that, Jack, and I was
the one who was strong for the bell. I told ’em a burglar would be
smothered in here in two hours, but with the doors closing fast on
him to catch him, the police could get here, let him out and save
his life, and catch him with the goods. But you forget there’s a
switch to run that burglar-trap on.”

Mike, listening, found himself suddenly cold all over. If he had
opened the huge vault,–as he was confident he could do,–he would
never have thought of anything like that! He would have gone in,
only anxious to secure his loot and depart before the watchman’s
return. With luck, he would have been able, he thought, to get the
big doors closed so his burglary would have gone unnoticed until
morning. But when he went in, he would have touched one of a number
of concealed springs. The huge doors would have swung to,
relentlessly, upon him. He would have been trapped in an air-tight
tomb, to batter futilely at the armor-plate barriers until the
police came.

He was to get another shock.

“This afternoon, though,” said the soft voice outside, interrupted
now and then by the infinitely faint musical sound of the spinning
knobs, “I did a little work on that wiring. The doors will work, but
the alarm won’t. The police will not be notified that a burglar is
caught in the vault.”

Sweat came out, cold and clammy, on Mike’s skin. He would have been
caught in there! He would have strangled! Hunched upon the floor of
the smelly little book-closet, he shivered in uncontrollable terror
from sheer horror at what he had escaped. Again he longed to get
away from the factory, at any cost.

“’Most through,” said the abstracted voice, outside. “Wonder why I’m
telling you, Jack? You see, I need the stuff in there. Need it in my
business. I’m going to take it, but I don’t want to have detectives
chasing around to try to find the thief. With your fingerprints on
the knob, they’d look for you, of course, but you might have proved
an alibi to make ’em look farther. And also, Jack, you’re too damned
fascinating. I was getting along pretty well with Ethel, until she
met you. I want to get you out of the way. With you dead, she’ll
marry me, sooner or later. I’m going to tap you on the head again,
Jack, and put you in here. The doors will close on you. In the
morning they’ll find that you opened the vault, passed out quite a
lot of stuff to a confederate, and then by accident touched off the
alarm that closes the doors. A sandbag doesn’t leave any sign, and I
used straps to tie you up so there’ll be no marks on your wrists.
I’ve thought of pretty nearly everything, Jack. I’ve even taken out
all the pencils and fountain pens from your pockets. I’ve no notion
of your writing an accusation of me while you’re in there; also I
don’t want to kill you before you go in there. I want you to show
the signs of dying from–er–the natural cause of being locked in an
air-tight vault.... Ah....”

There was a series of tiny clicks, then a faint creaking. Mike, in
his hiding-place, with the smell of dust and books and new-placed
rubber insulation in his nostrils, knew that the great doors had
swung open.

There was a pause, and the little snap of a watch-case.

“Watchman’s due in half an hour. Plenty of time.”

The voice stopped.

The man seemed to be listening. That was what Mike would have done.
He lay utterly and completely motionless, barely breathing. He was
queerly afraid of the man he had not seen. Perhaps because of that,
Mike felt a sudden cramp in one of his legs, a sharp, tingling,
shooting pain. He could not run on a leg like that. It might give
way beneath him.

“All clear,” said the voice, with a certain ghastly cheerfulness.
“But in case you’re thinking that I might set off the trap, Jack,
I’d like to mention that after I had you neatly trussed up, I pulled
out the switch. It’s in that little closet back there. I shall turn
it on after I’ve got the stuff out–and then the doors will close on
you. But first I’ll tap you on the head, and put you inside.”

Mike shivered. The smell of insulation.... The switch was in the
closet in which he was hiding! In a little while more the unknown
would come in where he was! Sheer panic came over Mike. It was with
a terrific effort that he calmed himself, trying to figure out an
escape from the inevitable struggle. The other man would open the
door. He, Mike, was inside. At best there would be a struggle. At
worst....




III


Mike’s whole body was bathed in sweat at the thought of himself
thrown inside the vault with armor-plated doors inexorably shutting
out every atom of fresh air. He clenched his teeth to keep them from
chattering. The man outside took on the aspect of a monster. To
Mike, he was something more or less than human. Mike might be a
criminal, and could visualize,–shrinking,–the thought of killing a
man in making a getaway, but not the deliberate strangling of a man
in cold blood, for the covering of his tracks. That was the other
man’s plan.

There would have to be a struggle, a fight of some sort. Mike’s leg
throbbed horribly. He doubted that it would support his weight. And
in an instant or two more he would inevitably be fighting. One way
or another, he was bound to be in terrible danger. If he shot the
other man, the pistol-shot would raise an alarm. If he did not
shoot....

He heard a faint thump on the floor.

“One load,” said the voice outside. “Two or three more, Jack, and
I’ll skip.” The voice, already soft, became muffled as its owner
went into the vault. “Here’s the payroll. Nice packet, in itself.
I’ve a good twenty minutes left. You realize what will happen, Jack?
I loot the vault, tap you on the head, take off your bonds and put
you in here. Then I push on the switch, the doors close on you, and
I get away with the stuff. In the morning they’ll find you inside,
and the stuff gone. Your fingerprints will be on the knobs.
Inference will inevitably be that the trap got you as you were
handing out the stuff to a confederate. Pretty scheme, isn’t it
Jack?”

The man seemed to be gloating a little over the agony of his
prospective victim. Mike, struggling to massage his leg into some
semblance of life and to make no noise in doing so, heard the
infinitely faint sound of the bound man struggling upon the floor.
He made a curious moan, utterly despairing.

“Just one more trip, Jack,” said the voice, filled with a terrifying
amusement. “Then I’ll come back for you.”

Mike’s throat was dry. He feared that man he had not seen; feared
him with the ultimate of terror. And in a moment or two more he
would have to fight him, struggle with him.

Cold to the marrow, dry-lipped with fear, his little eyes staring,
Mike started to raise himself to his feet as he heard the other man
enter the vault. His leg was numb. It would barely hold his weight
up. Mike’s teeth began to chatter. He heard the man rummaging about
inside the steel tomb. And then Mike felt a sudden agonizing pain in
his back. Something jabbed cruelly into his backbone, hurting
horribly. And then, with a spitting flash of bluish light, the pain
ceased. But outside, there was a sudden rumbling and a cushioned
crash. Then a distant, muffled scream, barely audible.

Glassy-eyed with terror, Mike flung open the door, to run. He saw a
small electric lantern upon the floor, its beam directed at the two
huge doors of the vault. _And they were closed!_

In the fraction of an instant Mike knew what had happened. Rising,
in the closet, he had jammed his back into the knife-switch that
turned on the current for the burglar-trap. It had closed the doors,
imprisoning the unknown Saunders in the air-tight vault. And he, the
imprisoned man, had cut the wires that would have warned the police
of his predicament.

Uttering a little gasp that was compounded of horror and fear, Mike
started forward, only to have his numbed leg give way beneath him.
The fall sobered him to a curious, fictitious calmness. He flashed
his lamp on the bound, still figure. Its eyes were closed. The face
was utterly white.

“Fainted,” said Mike to himself, shakily. “Safe enough, though....”

He suddenly scrambled to his feet again and ran. Through the dark
hallways and down the steps he fled. He was possessed by an
unreasoning terror. The window through which he had entered was
open. Evidently the other man had arranged it for his own ingress.
Mike fairly fell outside, and suddenly was in complete possession of
himself again. With the quiet, dark night all around him, he felt
secure, and he abruptly became conscious that he was carrying
something in one hand. He had picked it up when his leg gave way.

He let a faint ray trickle through his fingers upon it. Then he
grinned uncertainly. Evidently he had happened upon a portion of the
payroll. He saw yellow backs, at any rate, with the bills in the
bundle he held.

“M-my Gawd,” said Mike, unevenly. “That was a shock. There’ve been
shocks all around tonight. That feller in the vault.... An’ the
feller that fainted.... Say”–a thought struck him–“wonder if he’ll
come out of that faint in time to tell about a feller bein’ in th’
vault. M-my Gawd! Maybe he don’t know!”

He looked back through the window he had left, his breath coming
hurriedly, uneasily. He saw a faint glow a long distance away. The
watchman was making his rounds again. Mike saw the confident,
assured steps of the man by the light of his lantern. His legs threw
monstrous shadows on the walls. He went on his way unhurriedly,
reached a time-clock and extracted a key. He inserted and turned it,
registering his presence and vigilance upon a strip of paper inside
the mechanism. Then, casually, he went on his way.

“Brother,” Mike apostrophized the unconscious figure, “I just hadda
shock. Two other fellers had their shocks. An’ now, ol’ top, you’re
in for yours. Here’s hopin’.”

The watchman turned a corner and was lost to sight, but his steady,
even footsteps came dully to Mike’s ears. He was climbing the
stairs, and he wore squeaky shoes.

Mike slipped quickly and quietly away.


[Transcriber’s Notes:
  1. Story from the August, 1922 issue of _The Black Mask_ magazine.
  2. Typo corrected: “loot the same” to “loot the safe” in Chapter II.
]



*** END OF THE PROJECT GUTENBERG EBOOK THE VAULT ***


    

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.