Lighter Than You Think
Date: 2009-08-15T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of Lighter Than You Think

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: Lighter Than You Think

Author: Nelson S. Bond

Release date: August 15, 2009 [eBook #29698]

Language: English

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

*** START OF THE PROJECT GUTENBERG EBOOK LIGHTER THAN YOU THINK ***

It's possible that you won't agree with us that Pat Pending's latest adventure is a delightful story—possible IF you haven't been used to laughing in recent years. Blue Book printed more than a dozen of these stories by Nelson Bond about the "greatest inventulator of all time".

lighter
than
you
think

by NELSON BOND

Sandy's eyes needed only jet propulsion to become flying saucers. Wasn't Pat wonderful? she beamed, at everyone.

Some joker in the dear, dead days now virtually beyond recall won two-bit immortality by declaring that, "What this country needs is a good five-cent cigar."

Which is, of course, Victorian malarkey. What this country really needs is a good five-cent nickel. Or perhaps a good cigar-shaped spaceship. There's a fortune waiting somewhere out in space for the man who can go out there and claim it. A fortune! And if you think I'm just talking through my hat, lend an ear ...

Joyce started the whole thing. Or maybe I did when for the umpteenth time I suggested she should marry me. She smiled in a way that showed she didn't disapprove of my persistence, but loosed a salvo of devastating negatives.

"No deal," she crisped decisively. "Know why? No dough!"

"But, sugar," I pleaded, "two can live as cheaply as one—"

"This is true," replied Joyce, "only of guppies. Understand, Don, I don't mind changing my name from Carter to Mallory. In fact, I'd rather like to. But I have no desire whatever to be known to the neighbors as 'that poor little Mrs. Mallory in last year's coat.'

"I'll marry you," she continued firmly, "when, as and if you get a promotion."

Her answer was by no stretch of the imagination a reason for loud cheers, handsprings and cartwheels. Because I'm a Federal employee. The United States Patent Office is my beat. There's one nice thing to be said about working for the bewhiskered old gentleman in the star-spangled stovepipe and striped britches: it's permanent. Once you get your name inscribed on the list of Civil Service employees it takes an act of Congress to blast it off again. And of course I don't have to remind you how long it takes that body of vote-happy windbags to act. Terrapins in treacle are greased lightning by comparison.

But advancement is painfully slow in a department where discharges are unheard of and resignations rare. When I started clerking for this madhouse I was assistant to the assistant Chief Clerk's assistant. Now, ten years later, by dint of mighty effort and a cultivated facility for avoiding Senatorial investigations, I've succeeded in losing only one of those redundant adjectives.

Being my secretary, Joyce certainly realized this. But women have a remarkable ability to separate business and pleasure. So:

"A promotion," she insisted. "Or at least a good, substantial raise."

"In case you don't know it," I told her gloomily, "you are displaying a lamentably vulgar interest in one of life's lesser values. Happiness, not money, should be man's chief goal."

"What good is happiness," demanded Joyce, "if you can't buy money with it?"

"Why hoard lucre?" I sniffed. "You can't take it with you."

"In that case," said Joyce flatly, "I'm not going. There's no use arguing, Don. I've made up my mind—"

At this moment our dreary little impasse was ended by a sudden tumult outside my office. There was a squealing shriek, the shuffle of footsteps, the pounding of fists upon my door. And over all the shrill tones of an old, familiar voice high-pitched in triumph.

"Let me in! I've got to see him instantaceously. This time I've got it; I've absolutely got it!"

Joyce and I gasped, then broke simultaneously for the door as it flew open to reveal a tableau resembling the Laocoon group sans snake and party of the third part. Back to the door and struggling valiantly to defend it stood the receptionist, Miss Thomas. Held briefly but volubly at bay was a red-thatched, buck-toothed individual—and I do mean individual!—with a face like the map of Eire, who stopped wrestling as he saw us, and grinned delightedly.

"Hello, Mr. Mallory," he said. "Hi, Miss Joyce."

"Pat!" we both cried at once. "Pat Pending!"

Miss Thomas, a relative newcomer to our bailiwick, seemed baffled by the warmth of our greeting. She entered the office with our visitor, and as Joyce and I pumphandled him enthusiastically she asked, "You—you know this gentleman, Mr. Mallory?"

"I should say we do!" I chortled. "Pat, you old naughty word! Where on earth have you been hiding lately?"

"Surely you've heard of the great Patrick Pending, Miss Thomas?" asked Joyce.

"Pending?" faltered Miss Thomas. "I seem to have heard the name. Or seen it somewhere—"

Pat beamed upon her companionably. Stepping to my desk, he up-ended the typewriter and pointed to a legend in tiny letters stamped into the frame: Reg. U.S. Pat. Off.—Pat. Pending.

"Here, perhaps?" he suggested. "I invented this. And the airplane, and the automobile, and—oh, ever so many things. You'll find my name inscribed on every one.

"I," he announced modestly, "am Pat Pending—the greatest inventulator of all time."

Miss Thomas stared at me goggle-eyed.

"Is he?" she demanded. "I mean—did he?"

I nodded solemnly.

"Not only those, but a host of other marvels. The bacular clock, the transmatter, the predictograph—"

Miss Thomas turned on Pat a gaze of fawning admiration. "How wonderful!" she breathed.

"Oh, nothing, really," said Pat, wriggling.

"But it is! Most of the things brought here are so absurd. Automatic hat-tippers, self-defrosting galoshes, punching bags that defend themselves—" Disdainfully she indicated the display collection of screwball items we call our Chamber of Horrors. "It's simply marvelous to meet a man who has invented things really worth while."

Honestly, the look in her eyes was sickening. But was Pat nauseated? Not he! The big goon was lapping it up like a famished feline. His simpering smirk stretched from ear to there as he murmured, "Now, Miss Thomas—"

"Sandra, Mr. Pending," she sighed softly. "To you just plain ... Sandy. Please?"

"Well, Sandy—" Pat gulped.

I said disgustedly, "Look, you two—break it up! Love at first sight is wonderful in books, but in a Federal office I'm pretty sure it's unconstitutional, and it may be subversive. Would you mind coming down to earth? Pat, you barged in here squalling about some new invention. Is that correct?"

With an effort Pat wrenched his gaze from his new-found admirer and nodded soberly.

"That's right, Mr. Mallory. And a great one, too. One that will revolutionate the world. Will you give me an applicaceous form, please? I want to file it immediately."

"Not so fast, Pat. You know the routine. What's the nature of this remarkable discovery?"

"You may write it down," said Pat grandiloquently, "as Pat Pending's lightening rod."

I glanced at Joyce, and she at me, then both of us at Pending.

"But, Pat," I exclaimed, "that's ridiculous! Ben Franklin invented the lightning rod two hundred years ago."

"I said lightening," retorted my redheaded friend, "not lightning. My invention doesn't conduct electricity to the ground, but from it." He brandished a slim baton which until then I had assumed to be an ordinary walking-stick. "With this," he claimed, "I can make things weigh as much or as little as I please!"

The eyes of Sandy Thomas needed only jet propulsion to become flying saucers.

"Isn't he wonderful, Mr. Mallory?" she gasped.

But her enthusiasm wasn't contagious. I glowered at Pending coldly.

"Oh, come now, Pat!" I scoffed. "You can't really believe that yourself. After all, there are such things as basic principles. Weight is not a variable factor. And so far as I know, Congress hasn't repealed the Law of Gravity."

Pat sighed regretfully.

"You're always so hard to convince, Mr. Mallory," he complained. "But—oh, well! Take this."

He handed me the baton. I stared at it curiously. It looked rather like a British swagger stick: slim, dainty, well balanced. But the ornamental gadget at its top was not commonplace. It seemed to be a knob or a dial of some kind, divided into segments scored with vernier markings. I gazed at Pending askance.

"Well, Pat? What now?"

"How much do you weigh, Mr. Mallory?"

"One sixty-five," I answered.

"You're sure of that?"

"I'm not. But my bathroom scales appeared to be. This morning. Why?"

"Do you think Miss Joyce could lift you?"

I said thoughtfully, "Well, that's an idea. But I doubt it. She won't even let me try to support her."

"I'm serious, Mr. Mallory. Do you think she could lift you with one hand?"

"Don't be silly! Of course not. Nor could you."

"There's where you're wrong," said Pending firmly. "She can—and will."

He reached forward suddenly and twisted the metal cap on the stick in my hands. As he did so, I loosed a cry of alarm and almost dropped the baton. For instantaneously I experienced a startling, flighty giddiness, a sudden loss of weight that made me feel as if my soles were treading on sponge rubber, my shoulders sprouting wings.

"Hold on to it!" cried Pat. Then to Joyce, "Lift him, Miss Joyce."

Joyce faltered, "How? Like th-this?" and touched a finger to my midriff. Immediately my feet left the floor. I started flailing futilely to trample six inches of ozone back to the solid floorboards. To no avail. With no effort whatever Joyce raised me high above her head until my dazed dome was shedding dandruff on the ceiling!

"Well, Mr. Mallory," said Pat, "do you believe me now?"

"Get me down out of here!" I howled. "You know I can't stand high places!"

"You now weigh less than ten pounds—"

"Never mind the statistics. I feel like a circus balloon. How do I get down again?"

"Turn the knob on the cane," advised Pat, "to your normal weight. Careful, now! Not so fast!"

His warning came too late. I hit the deck with a resounding thud, and the cane came clattering after. Pat retrieved it hurriedly, inspected it to make sure it was not damaged. I glared at him as I picked myself off the floor.

"You might show some interest in me," I grumbled. "I doubt if that stick will need a liniment rubdown tonight. Okay, Pat. You're right and I'm wrong, as you usually are. That modern variation of a witch's broomstick does operate. Only—how?"

"That dial at the top governs weight," explained Pat. "When you turn it—"

"Skip that. I know how it is operated. I want to know what makes it work?"

"Well," explained Pat, "I'm not certain I can make it clear, but it's all tied in with the elemental scientific problems of mass, weight, gravity and electric energy. What is electricity, for example—"

"I used to know," I frowned. "But I forget."

Joyce shook her head sorrowfully.

"Friends," she intoned, "let us all bow our heads. This is a moment of great tragedy. The only man in the world who ever knew what electricity is—and he has forgotten!"

"That's the whole point," agreed Pending. "No one knows what electricity really is. All we know is how to use it. Einstein has demonstrated that the force of gravity and electrical energy are kindred; perhaps different aspects of a common phenomenon. That was my starting point."

"So this rod, which enables you to defy the law of gravity, is electrical?"

"Electricaceous," corrected Pat. "You see, I have transmogrified the polarifity of certain ingredular cellulations. A series of disentrigulated helicosities, activated by hypermagnetation, set up a disruptular wave motion which results in—counter-gravity!"

And there you are! Ninety-nine percent of the time Pat Pending talks like a normal human being. But ask him to explain the mechanism of one of his inventions and linguistic hell breaks loose. He begins jabbering like a schizophrenic parrot reading a Sanskrit dictionary backward! I sighed and surrendered all hope of ever actually learning how his great new discovery worked. I turned my thoughts to more important matters.

"Okay, Pat. We'll dismiss the details as trivial and get down to brass tacks. What is your invention used for?"

"Eh?" said the redhead.

"It's not enough that an idea is practicable," I pointed out. "It must also be practical to be of any value in this frenzied modern era. What good is your invention?"

"What good," demanded Joyce, "is a newborn baby?"

"Don't change the subject," I suggested. "Or come to think of it, maybe you should. At the diaper level, life is just one damp thing after another. But how to turn Pat's brainchild into cold, hard cash—that's the question before the board now.

"Individual flight a la Superman? No dice. I can testify from personal experience that once you get up there you're completely out of control. And I can't see any sense in humans trying to fly with jet flames scorching their base of operations.

"Elevators? Derricks? Building cranes? Possible. But lifting a couple hundred pounds is one thing. Lifting a few tons is a horse of a different color.

"No, Pat," I continued, "I don't see just how—"

Sandy Thomas squeaked suddenly and grasped my arm.

"That's it, Mr. Mallory!" she cried. "That's it!"

"Huh? What's what?"

"You wanted to know how Pat could make money from his invention. You've just answered your own question."

"I have?"

"Horses! Horse racing, to be exact. You've heard of handicaps, haven't you?"

"I'm overwhelmed with them," I nodded wearily. "A secretary who repulses my honorable advances, a receptionist who squeals in my ear—"

"Listen, Mr. Mallory, what's the last thing horses do before they go to the post?"

"Check the tote board," I said promptly, "to find out if I've got any money on them. Horses hate me. They've formed an equine conspiracy to prove to me the ancient adage that a fool and his money are soon parted."

"Wait a minute!" chimed in Joyce thoughtfully. "I know what Sandy means. They weigh in. Is that right?"

"Exactly! The more weight a horse is bearing, the slower it runs. That's the purpose of handicapping. But if a horse that was supposed to be carrying more than a hundred pounds was actually only carrying ten—Well, you see?"

Sandy paused, breathless. I stared at her with a gathering respect.

"Never underestimate the power of a woman," I said, "when it comes to devising new and ingenious methods of perpetrating petty larceny. There's only one small fly in the ointment, so far as I can see. How do we convince some racehorse owner he should become a party to this gentle felony?"

"Oh, you don't have to," smiled Sandy cheerfully. "I'm already convinced."

"You? You own a horse?"

"Yes. Haven't you ever heard of Tapwater?"

"Oh, sure! That drip's running all the time!"

Joyce tossed me a reproving glance.

"This is a matter of gravity, Donald," she stated, "and you keep treating it with levity. Sandy, do you really own Tapwater? He's the colt who won the Monmouth Futurity, isn't he?"

"That's right. And four other starts this season. That's been our big trouble. He shows such promise that the judges have placed him under a terrific weight handicap. To run in next week's Gold Stakes, for instance, he would have to carry 124 pounds. I was hesitant to enter him because of that. But with Pat's new invention—" She turned to Pat, eyes glowing—"he could enter and win!"

Pat said uncertainly, "I don't know. I don't like gambling. And it doesn't seem quite ethical, somehow—"

I asked Sandy, "Suppose he ran carrying 124. What would be the probable odds?"

"High," she replied, "Very high. Perhaps as high as forty to one."

"In that case," I decided, "it's not only ethical, it's a moral obligation. If you're opposed to gambling, Pat, what better way can you think of to put the parimutuels out of business?"

"And besides," Sandy pointed out, "this would be a wonderful opportunity to display your new discovery before an audience of thousands. Well, Pat? What do you say?"

Pat hesitated, caught a glimpse of Sandy's pleading eyes, and was lost.

"Very well," he said. "We'll do it. Mr. Mallory, enter Tapwater in the Gold Stakes. We'll put on the most spectaceous exhibition in the history of gambilizing!"

Thus it was that approximately one week later our piratical little crew was assembled once again, this time in the paddock at Laurel. In case you're an inland aborigine, let me explain that Laurel race track (from the township of the same name) is where horse fanciers from the District of Columbia go to abandon their Capitol and capital on weekends.

We were briefing our jockey—a scrawny youth with a pair of oversized ears—on the use of Pat's lightening rod. Being short on gray matter as well as on stature, he wasn't getting it at all.

"You mean," he said for the third or thirty-third time, "you don't want I should hit the nag with this bat?"

"Heavens, no!" gasped Pat, blanching. "It's much too delicate for that."

"Don't fool yourself, mister. Horses can stand a lot of leather."

"Not the horse, stupid," I said. "The bat. This is the only riding crop of its kind in the world. We don't want it damaged. All you have to do is carry it. We'll do the rest."

"How about setting the dial, Don?" asked Joyce.

"Pat will do that just before the horses move onto the track. Now let's get going. It's weigh-in time."

We moved to the scales with our rider. He stepped aboard the platform, complete with silks and saddle, and the spinner leaped to a staggering 102, whereupon the officials started gravely handing him little leather sacks.

"What's this?" I whispered to Sandy. "Prizes for malnutrition? He must have won all the blackjacks east of the Mississippi."

"The handicap," she whispered back. "Lead weights at one pound each."

"If he starts to lose," I ruminated, "they'd make wonderful ammunition—"

"One hundred and twenty-four," announced the chief weigher-inner. "Next entry!"

We returned to Tapwater. The jockey fastened the weights to his gear, saddled up and mounted. From the track came the traditional bugle call. Sandy nodded to Pat.

"All right, Pat. Now!"

Pending twisted the knob on his lightening rod and handed the stick to the jockey. The little horseman gasped, rose three inches in his stirrups, and almost let go of the baton.

"H-hey!" he exclaimed. "I feel funny. I feel—"

"Never mind that," I told him. "Just you hold on to that rod until the race is over. And when you come back, give it to Pat immediately. Understand?"

"Yes. But I feel so—so lightheaded—"

"That's because you're featherbrained," I advised him. "Now, get going. Giddyap, Dobbin!"

I patted Tapwater's flank, and so help me Newton, I think that one gentle tap pushed the colt half way to the starting gate! He pattered across the turf with a curious bouncing gait as if he were running on tiptoe. We hastened to our seats in the grandstand.

"Did you get all the bets down?" asked Joyce.

I nodded and displayed a deck of ducats. "It may not have occurred to you, my sweet," I announced gleefully, "but these pasteboards are transferrable on demand to rice and old shoes, the sweet strains of Oh, Promise Me! and the scent of orange blossoms. You insisted I should have a nest egg before you would murmur, 'I do'? Well, after this race these tickets will be worth—" I cast a swift last glance at the tote board's closing odds, quoting Tapwater at 35 to 1—"approximately seventy thousand dollars!"

"Donald!" gasped Joyce. "You didn't bet all your savings?"

"Every cent," I told her cheerfully. "Why not?"

"But if something should go wrong! If Tapwater should lose!"

"He won't. See what I mean?"

For even as we were talking, the bell jangled, the crowd roared, and the horses were off. Eight entries surged from the starting gate. And already one full length out in front pranced the weight-free, lightfoot Tapwater!

At the quarter post our colt had stretched his lead to three lengths, and I shouted in Pending's ear, "How much does that jockey weigh, anyway?"

"About six pounds," said Pat. "I turned the knob to cancel one eighteen."

At the half, all the other horses could glimpse of Tapwater was heels. At the three-quarter post he was so far ahead that the jockey must have been lonely. As he rounded into the stretch I caught a binocular view of his face, and he looked dazed and a little frightened. He wasn't actually riding Tapwater. The colt was simply skimming home, and he was holding on for dear life to make sure he didn't blow off the horse's back. The result was a foregone conclusion, of course. Tapwater crossed the finish line nine lengths ahead, setting a new track record.

The crowd went wild. Over the hubbub I clutched Pat's arm and bawled, "I'll go collect our winnings. Hurry down to the track and swap that lightening rod for the real bat we brought along. He'll have to weigh out again, you know. Scoot!"

The others vanished paddockward as I went for the big payoff. It was dreary at the totalizer windows. I was one of a scant handful who had bet on Tapwater, so it took no time at all to scoop into the valise I had brought along the seventy thousand bucks in crisp, green lettuce which an awed teller passed across the counter. Then I hurried back to join the others in the winner's circle, where bedlam was not only reigning but pouring. Flashbulbs were popping all over the place, cameramen were screaming for just one more of the jockey, the owner, the fabulous Tapwater. The officials were vainly striving to quiet the tumult so they could award the prize. I found Pending worming his way out of the heart of the crowd.

"Did you get it?" I demanded.

He nodded, thrust the knobbed baton into my hand.

"You substituted the normal one?"

Again he nodded. Hastily I thrust the lightening rod out of sight into my valise, and we elbowed forward to share the triumphant moment. It was a great experience. I felt giddy with joy; I was walking on little pink clouds of happiness. Security was mine at last. And Joyce, as well.

"Ladies and gentlemen!" cried the chief official. "Your attention, please! Today we have witnessed a truly spectacular feat: the setting of a new track record by a champion racing under a tremendous handicap. I give you a magnificent racehorse—Tapwater!"

"That's right, folks!" I bawled, carried away by the excitement. "Give this little horse a great big hand!"

Setting the example, I laid down the bag, started clapping vigorously. From a distance I heard Pat Pending's agonized scream.

"Mr. Mallory—the suitcase! Grab it!"

I glanced down, belatedly aware of the danger of theft. But too late. The bag had disappeared.

"Hey!" I yelled. "Who swiped my bag? Police!"

"Up there, Mr. Mallory!" bawled Pat. "Jump!"

I glanced skyward. Three feet above my head and rising swiftly was the valise in which I had cached not only our winnings but Pat's gravity-defying rod! I leaped—but in vain. I was still making feeble, futile efforts to make like the moon-hurdling nursery rhyme cow when quite a while later two strong young men in white jackets came and jabbed me with a sedative ...

Later, when time and barbiturates had dulled the biting edge of my despair, we assembled once again in my office and I made my apologies to my friends.

"It was all my fault," I acknowledged. "I should have realized Pat hadn't readjusted the rod when I placed it in my bag. It felt lighter. But I was so excited—"

"It was my fault," mourned Pat, "for not changing it immediately. But I was afraid someone might see me."

"Perhaps if we hired an airplane—?" I suggested.

Pat shook his head.

"No, Mr. Mallory. The rod was set to cancel 118 pounds. The bag weighed less than twenty. It will go miles beyond the reach of any airplane before it settles into an orbit around earth."

"Well, there goes my dreamed-of fortune," I said sadly. "Accompanied by the fading strains of an unplayed wedding march. I'm sorry, Joyce."

"Isn't there one thing you folks are overlooking?" asked Sandy Thomas. "My goodness, you'd think we had lost our last cent just because that little old bag flew away!"

"For your information," I told her, "that is precisely what happened to me. My entire bank account vanished into the wild blue yonder. And some of Pat's money, too."

"But have you forgotten," she insisted, "that we won the race? Of course the track officials were a wee bit suspicious when your suitcase took off. But they couldn't prove anything. So they paid me the Gold Stakes prize. If we split it four ways, we all make a nice little profit.

"Or," she added, "if you and Joyce want to make yours a double share, we could split it three ways.

"Or," she continued hopefully, "if Pat wants to, we could make two double shares, and split it fifty-fifty?"

From the look in Pat's eyes I knew he was stunned by this possibility. And from the look in hers, I felt she was going to make every effort to take advantage of his bewilderment.

So, as I said before, what this country needs is a good cigar-shaped spaceship. There's a fortune waiting somewhere out in space for the man who can go out there and claim it. Seventy thousand bucks in cold, hard cash.

Indubitatiously!

Transcriber's Note:

This etext was produced from Fantastic Universe August 1957. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

*** END OF THE PROJECT GUTENBERG EBOOK LIGHTER THAN YOU THINK ***

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.

back

Table of Contents

- lighter than you think

- THE FULL PROJECT GUTENBERG LICENSE