D. P. from tomorrow
Date: 2026-08-11T00:00:00+00:00

The Project Gutenberg eBook of D. P. from tomorrow

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: D. P. from tomorrow

Author: Mack Reynolds

Illustrator: Rudolph Belarski

Dick Shelton

Release date: August 11, 2026 [eBook #79340]

Language: English

Original publication: New York: Hanro Corp., 1953

Other information and formats: www.gutenberg.org/ebooks/79340

Credits: Tom Trussel (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK D. P. FROM TOMORROW ***

Transcribed from Orbit Science Fiction, September 1953 (Vol. 1, No. 1).

D. P. From Tomorrow
by Mack Reynolds

The little man was very sincere, very ... but then so many of these guys are!

The phone rang and Ed Kerry picked it up and said, “Daily Star.”

He listened for a moment and said, “Yeah,” and then, “Hold on a minute.” He stuck a hand over the mouthpiece and said to the city room at large, “It’s one of these drunks settling some bet. He wants to know when Lord Byron died.”

Sam, over on the rewrite desk, said, “He died on April 19th, 1824.”

Kerry said into the phone, “He died April 19th, 1824,” and hung up.

Jake, the city editor, had been leaning back in his swivel chair, his feet up on the desk. He said to Sam, “How do you know?”

Sam shrugged and said, “Just happened to.”

Jake said idly, “Offhand, I can’t think of any information that makes less difference than when Byron died.”

Ed Kerry said, “It’s the queerest thing in this business. Some jerk phones in and wants to know what caliber gun it was that killed Lincoln, or maybe how many molecules there are in a drop of water. And what happens? Somebody in the city room always knows the answer. It’s the same on every paper I ever worked for.”

Jake growled, “You can’t tell them to go get lost. These characters who phone into newspapers at the drop of a hat might stumble on the biggest story of the year ten minutes later. You don’t want them phoning some other paper because they’re sore at you for not telling them who got in the first punch in the Dempsey-Firpo fight.”

Kerry said, “Yeah, but what gets me is that when these jerks ask their screwy questions, somehow or other they always get the right answer.”

Somebody on rewrite said, “I remember once some drunk phoned in about four o’clock in the morning and wanted to know how tall Jumbo, Barnum’s elephant, used to be. The guy who was working next to me says, ‘Eleven feet, six inches,’ without even looking up from the story he was on.”

Jake said, “It’s because on a newspaper you got a whole room full of guys with a lot of general knowledge. Remember back in the 1940s or 1950s or whenever it was, they had this ‘Information Please’ program on the television?”

Sam said, “It was radio back then.”

Jake growled, “What difference does it make? Anyway, these guys knew all the answers and there were only maybe three or four of them, mostly newspapermen. In a city room you’ve got a dozen or more men who’ve read so much that it starts....”

The phone rang again and, since nobody else stirred, Ed Kerry sighed and picked it up again. He said, “Yeah?” He repeated that a few more times and then, “Hold it, Ted. I’ll ask Jake.”

He looked over at Jake and said, “It’s Ted Ruhling. He’s over at Leo’s....”

“This is Ted’s night off,” Jake grunted.

“...He says he’s got a refugee over there with a story,” Ed Kerry finished. The phone was still squeaking and he put the receiver back to his ear.

“A refugee, yet,” Jake snorted. “What’s Ted got in mind? He must be sober; when he’s drunk he’s got more story sense. We’ve had so many Martian refugee stories....”

“This isn’t a Martian,” Kerry said. “It’s a guy claims he’s from another space-time continuum.”

Somebody on rewrite said, “That does it. Now I’ve heard it all.”

Jake began to say, “Tell Ted Ruhling to have himself a few more drinks and forget about.... No, hold it. Tell him to bring the guy over here and we’ll get the story. Maybe it’ll be good for a humorous piece; besides, there’s nothing going on anyway, we’ll get some laughs.”

Ed Kerry said into the phone, “It sounds like a real story, Ted. Jake says to rush the guy over here.” He hung up.

Sam, over on rewrite, scratched himself reflectively. “I’ve seen a lot of stories in my thirty years in this racket, and I’ve seen a lot of stories about refugees. Refugees from Asia, refugees from Europe, refugees from South America and from Texas; even refugees from Luna and Mars. But I’ll be a makron if I ever heard of a refugee from another space-time continuum.”

Kitty Kildare bustled from her tiny office and hurried breathlessly toward Jake’s desk.

Ed Kerry said softly, “Kitty looks like she’s got another world beater. Tear down the front page, Jake.”

Kitty gushed, “Jake, I really have something for tomorrow’s column. Actually, I mean. Jake, this....”

Jake held up a weary hand to stem the tide. “Kitty,” he said, “listen. That column is yours; you can put anything in it you want. It’s none of my business. For some reason or other, people even read it. Don’t ask me why.”

Kitty Kildare simpered. “Now, Jake, you’re always pulling my leg.”

Jake shuddered.

Kitty went on, “But you’ll see tomorrow. Actually, I mean.” She bustled out of the city room and off to whatever story she had found to cover for her column.

Ed Kerry said wonderingly, “Kitty can get breathless over any story hotter than a basketball score.”

Jake said, “What’s another space-time continuum? Seems to me I read about it somewhere, or....”

Sam laughed. “Now we know Jake’s secret vice. He hides in his room, locks the door, and reads science fiction.”

The city editor scowled. “I don’t get it.”

Sam said, “Another space-time continuum is one of the favorite standbys of these science-fiction writers. You know. The general idea is that there are other, well, call them universes, existing side by side with ours. We aren’t the only space-time continuum; we’re only one of them.”

“One theory is that there are an infinite number of continuums,” Ed Kerry put in. “That means that somewhere everything is happening, has happened, and will happen.”

Jake growled, “Shut up, Ed. Sam’s explanation was getting bad enough, but....”

Sam said, “No. Ed’s right. According to one theory, there are an infinite number of alternative universes, some of them almost identical to this one. For instance, in an infinite number of universes, Hitler won the second world war. In an infinite number of others, Hitler was never born. In still others, he spent his whole life as a paperhanger.”

“Wait a minute, now,” Jake said. “You mean to tell me that somewhere, in some other space-time whatever-y’call-it....”

“Continuum,” Ed Kerry supplied.

“All right. Anyway, everything possible has happened, will happen, and is happening? Everything, no matter how unlikely?”

“That’s the theory,” Sam told him. “Consider, for instance, how improbable this space-time continuum in which we live really is.”

Jake snorted, “Holy Wodo. Ted Ruhling has brought in some screwy stories in his time, but a refugee from....”

“Here he comes,” somebody whispered.

“Okay, boys,” Jake said softly. “The works. Somebody tell Jim to bring his camera.”

Ted Ruhling wavered unsteadily toward the city desk, ushering along a little, wistful-looking character dressed in clothes that looked oddly out of style. The stranger’s hair was going grey and his small face was much lined; he looked to be about forty.

Ruhling blinked at Jake and said, with considerable dignity, “This story is beyond the call of duty, y’realize, Jake. Oughta getta bonus. Wanta introduce Martin Cantine; refugee from another space-time continuum. Met him by accident in Leo’s Bar.” He slumped into a chair as though the effort of the introduction had exhausted him.

Jake got up and held out a hand to the little man. “Welcome to ... uh, that is, welcome to our universe, Mr. Cantine.”

Ed Kerry and Jim the photographer and several others crowded up with notebook and camera.

“Mr. Cantine,” Kerry said excitedly, “what do you think of our space-time continuum’s girls?”

“Shut up, Ed,” Jake said from the side of his mouth.

But the little fellow answered seriously. “The same as I think of those in my own, of course.”

Kerry said, as though disappointed, “You mean there’s no difference?”

Martin Cantine found himself a chair, sat down, and said, earnestly, “I see that there must be some misunderstanding here. You gentlemen must realize that the continuum from which I fled was almost exactly like this one. Almost exactly. I note, for instance, that this city has identical buildings and in other ways is precisely like my own, except, of cause, for the time element.”

“Oh, oh,” Sam said. “Here we go. The time element.”

“What’s different about the time element?” Jake asked cautiously.

The little fellow frowned worriedly. “I hope I can explain it to you. You see, the device which was constructed by my friends to enable us to flee our own period was designed to remove a living person from one space-time continuum and to place him in another. But it must be realized that in transporting ourselves to another space we at the same time, of necessity, transport ourselves also to another time. In all, we transport ourselves from another space, another time, and another space-time continuum. Actually, of course, the three are really one. Is that clear?”

“No.” Ed Kerry said.

“Shut up, Ed,” Jake growled. “Go on, Mr. Cantine.”

Mr. Cantine was pleased that at least one person was following him.

“Our device was set to remove me only slightly in space, and, consequently, only slightly in time. If I am correct, my time was about ten years after yours.”

Jake closed his eyes for a long moment. Finally he opened them again and said, “Let’s have that last again.”

“In my space-time continuum,” the little man said, “I lived about ten years in your future. In other words, in 2030.”

“I get it,” Sam said. “Ten years from now our space-time continuum will be like yours when you left—in most respects; that is. What you did was travel backward in time for ten years and to a slightly different continuum.”

Ted Ruhling had managed to stay awake thus far. But now that he saw everything was under control he muttered, “Bonus,” and slumped forward on the desk at which he was sitting.

Jake looked at him and grunted bitterly.

Ed Kerry said, “Well, let’s get the rest of the story. Why did you leave home and come to our fair continuum?”

Martin Cantine frowned. “I thought you realized that I was a refugee. Didn’t Mr. Ruhling explain on the phone?”

“Of course,” Jake told him. “Now just what were you a refugee from, Mr. Cantine?”

The little man took a deep, dramatic breath. “From Gerald Twombly, the most vicious despot the world has ever seen!”

Ed Kerry choked on that. “Twombly!” he said, trying to hold his laughter. He swallowed hard, then said, very seriously, “How do you spell that?”

“Gerald Twombly. T-W-O-M-B-L-Y,” Martin Cantine told him. “And now that you have been warned, you’ll be able to defend yourself against this scourge.”

“I missed something there,” Jake said.

The little refugee explained, “As I pointed out, this continuum is almost exactly like mine. The principal difference is that you are ten years earlier in time; Gerald Twombly is not as yet in power. You have time to fight him, expose his nefarious schemes.”

“Twombly,” Ed Kerry said. “I love that name. Hitler, Mussolini, Caesar, Napoleon—none of them quite have the ring of Twombly.”

Jake looked up at the clock on the wall. They were going to have to start work on the bulldog edition. Besides, he was getting tired of this nut. He nodded his head to Bunny Davis, down at the other end of the room, and she surreptitiously took up a phone and called the city hospital.

Ed Kerry was asking, “Just what form will this despotism take?”

Martin Cantine leaned forward earnestly. “The most vicious and bloody the world has ever known. People have forgotten, it has been so long since dictatorship has existed, how ruthless persons in power can become to maintain themselves. We’ve also forgotten that many of the devices that have been invented in the past one hundred years can be turned to horrible use by a police state. Truth serums, for instance, used ordinarily for psychiatry, but a terrible weapon in the hands of a secret police. Cybernetic-controlled wire and radio tapping devices that can listen to every conversation that takes place over instruments throughout the whole planet and immediately flash a report whenever anything the slightest degree removed from what is permissible is said. Radar....”

Jake yawned. “And just how did you manage to escape this guy ... er, Twombly?”

Cantine frowned. “I am not the inventor of the S-T Invertor, but one of several who have been secretly removed to another continuum to escape Twombly’s secret police. I am not exactly clear on the workings of the device.”

“Shucks,” Ed Kerry said. “I was afraid of that. Tell us what you do know about it.” He was beginning to give up the pretense of taking notes.

Martin Cantine looked from one to the other, frowning. He was beginning to suspect the truth of the situation, and a red flush was creeping up his neck.

“I am afraid you gentlemen think I am exaggerating,” he said tensely.

“I wouldn’t exactly put it that way,” Jake told him, stifling another yawn. “But part of it seems....”

The little man came to his feet, his expression tight. “I see,” he said. He took a deep breath, then went on slowly, and very sincerely. “Even though you think me a charlatan, I beseech you, for your own sakes and for this continuums’s—investigate this Gerald Twombly. You must. Or your space-time continuum will....”

Two white-coated interns came through the door and looked about questionably. Jake motioned to them and they advanced.

Jake said, a touch of unwonted kindliness in his gruff voice, “Here are two friends of yours, Mr. Cantine.”

The little man looked about him unbelievingly. “But ... but ... you think I’m insane. You don’t realize....” He shook off the hands of the interns, and spun about desperately to confront the city editor again. He began to shout, “But you must ... Gerald Twombly! ... You must ... !”

They led him out, struggling.

There was an embarrassed silence in the city room. The gag had not been as amusing as they had expected.

“Well, let’s get to work,” Jake said. “Kerry, you see if you can do up a stick or so on this Cantine. Gag it up a little, but don’t go overboard. Jim, did you get a decent shot of the little guy? Those phony clothes he’d had made up for himself might make a....”

Sam, over on rewrite, said, “You know, the funny thing was that his story made a certain amount of sense.”

Jake snorted. “Every nut’s story makes a certain amount of sense. The only trouble is that, when you check it, it doesn’t hold up.”

“What’d’ya mean, check it?” Sam said argumentatively. “What part of Cantine’s story were you able to check?”

Jake growled, “For one thing, this guy Twombly. What a name for a dictator. Anyway, who ever heard of a Gerald Twombly? Did you Kerry ... Jim ... Bunny ... Sam?”

They shook their heads. So did everyone else in the city room.

Jake shrugged. “Okay. There you are. This character says that in ten years Twombly’s dictatorship is going to be so rugged that we’ll all be wanting to take a powder out of here to another what’d’ya call it?”

“Space-time continuum,” Sam said grudgingly.

“Yeah. Well, none of us have ever heard of him. Remember what I said earlier about all the general knowledge you find on a newspaper’s staff? Okay, where’s somebody that’s even heard of this guy?”

“I guess you’re right,” Sam admitted. “But he seemed to be kind of a nice little duck.”

“The nut factories are full of nice little ducks,” Jake grunted. He tossed a story over to the rewrite man. “Here, shut up and get to work or you’ll be getting as screwy as he is.”

Sam grinned and took up a pencil. “Okay, Jake.”

Kitty Kildare hustled into the room, brandishing a sheaf of paper. “Jake,” she said breathlessly, “wait until you see my column tomorrow. I’ll have them dying, dying. Actually, I mean.”

Jake shuddered. “Okay, what is it this time?”

She closed her eyes and breathed ecstatically. “A wonderful man; actually, I mean. I have the first interview he’s ever given. He has a new political system he’s advocating.”

Ed Kerry said sarcastically, “I’ll bet his name’s Twombly.”

Kitty turned and stared at him. “How in the world did you know?” she said.

Transcriber’s note:

This etext was produced from Orbit Science Fiction, September 1953 (Vol. 1, No. 1). Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

Obvious errors have been silently corrected in this version, but minor inconsistencies have been retained as printed.

*** END OF THE PROJECT GUTENBERG EBOOK D. P. FROM TOMORROW ***

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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.

Table of Contents

- D. P. From Tomorrow
- Transcriber’s note:
- THE FULL PROJECT GUTENBERG™ LICENSE