The Project Gutenberg eBook of The Electric Man, by Charles Hannan.

THE ELECTRIC MAN

BEING THE ONE ACT VERSION OF THE
SUCCESSFUL THREE ACT FARCICAL
COMEDY OF THE SAME NAME

By

CHARLES HANNAN

Author of
“ A Cigarette Maker’s Romance ,” “ Master of the Situation ,” “ The
Coachman with Yellow Lace ,” “ Iron Hand and Velvet Glove ,”
“ The World’s Way ,” “ United States ,” “ Sweet Olivia ,”
“ Richard Wye ,” “ The New Groom ,” “ The Setting
of the Sun ,” “ The Gipsy ,” “ A Fragment ,” “ The
Lily of the Field ,” etc., etc., and in
collaboration with Wilson Barrett ,
“ Our Pleasant Sins .”

New York		London
SAMUEL FRENCH		SAMUEL FRENCH Ltd
Publisher		26 Southampton Street
28-30 WEST 38TH STREET		STRAND

The three act successful farcical comedy, “The Electric Man,” which may be obtained in manuscript from Messrs. Samuel French, Ltd., was first presented at the King’s Theatre, Hammersmith, with Mr. Harcourt Beatty in the leading rôle, and was subsequently put on for a West End run at the Royalty Theatre on November 10, 1906, with Mr. Harry Nicholls as the Electric Man, the piece being transferred to the Shaftesbury Theatre on Boxing Day of the same year.

The condensed one act form of the play which follows was produced by Mr. Harry Nicholls at the Chelsea Palace and Metropolitan Halls with the greatest success on July 29, 1907, cast thus:—

Walter and the automaton are never upon the stage together, so that throughout the play Walter takes the figure’s place by entering the cupboard “off.” A super is required, however, to play “dummy,” but when this happens the figure is seated in the cupboard with its back to audience.

Costume for Walter and for the automaton: Walter wears a brown coat or jacket and trousers of the same, with a white waistcoat. The automaton is dressed exactly the same as to trousers and waistcoat, etc., but wears a black frock coat, and as they both usually keep the coat buttoned, the waistcoat is seldom seen.

“ Funeral March of a Marionette ” to accompany the automaton’s scenes. The automaton walks very stiffly and jerkily, and moves his arms like a doll.

Mrs. Anderson . Oh, yes, sir, as I happens to know being woked up sudden, thinkering to hear a burgular, which was only Master Walter Everest, the gent I does for, a-creepering and a-crawlering upstairs.

Jack. Is he often like that? ( Takes up and looks at letters on table and puts them down again. )

Mrs. Anderson. Lawk a floury! no, sir, only breaks out occasional when his work’s bad. Mr. Everest is a chemist and electerician.

Mrs. Anderson. I believes as he have something very musterious and secret inventering at this here identical period of time, some mustery as he keeps in that there cupboard which the door is always locked constant. Oh, very musterious—and queer smells a-penetratering and perfuncteroring the house. Oh, here he are, sir.

Walter. Hullo, hullo! whose head is this? It isn’t mine, it can’t be mine. Stop! ( Sits top of R. table .) Stop! ( Picks up newspaper. ) Morning paper, who wants morning paper? ( Throws it on floor behind him, and Jack , who is watching him, picks it up . Walter opens letter .) Letters, who wants letters?—oh, one from my tailor, “We greatly regret delay in delivery of your new black coat. We will despatch it to reach your residence without fail to-day. May we remind you that your account——?” No, you may not remind me.

Walter. Jack, I’m very ill. I haven’t been out of doors till last night for weeks. Nothing but work at what my father left me. He gave his lifetime to it and then left it to me. It ought to have been the invention of the age. I went on the spree last night, when the whole thing failed.

Jack. I have some news for you about your stepmother, Mrs. Everest. By the idiotic conditions of your late father’s will—if the old lady marries again before your birthday on Monday next the whole fortune he left becomes not yours but hers.

Jack. Yes, but that is how the will reads—instead of writing “ He shall inherit,” your father wrote “ she shall inherit.” She is the “she.” About forty-five thou., isn’t it?

Jack. An adventurer named Potterfield has lately come to the village, found out about the will, made love to the old lady, got a special license, and is bringing her to town to marry her to-morrow.

Jack. Stella is coming here directly. This wedding must be stopped or postponed.

Walter. Jack, something’s got to be done—suppose I were taken ill—very ill.

Walter. Well, suppose that—no, that’s no use—suppose again that—no, that’s no good either. I have a dim kind of idea that in some way my invention is going to help us.

Walter. It failed living; it might be of use dead. ( Swiss Jodel. ) Hullo, tra la la! ( Momentary dissipated business. )

Walter. Hullo, Stella how are you? Jack has told me all about this adventurer, Potterfield. I’ve an idea to checkmate my stepmother. ( Gives her seat. ) I’m going to postpone their marriage not by being ill—I’m going to die. What do you think of that?

Walter. In that cupboard there is a figure exactly like myself which was timed to spring into existence yesterday at 5 p.m.—only it didn’t. It’s the work my father never completed. Something went wrong. There the figure is and will remain, dead as a nut. [Pg 10] I even dressed it in my best clothes, gave it a name, too, christened it Cyril Davidson.

Walter. My father’s instructions were to make the man I was creating a handsome, good-looking fellow, according to the very best available model. All you’ve got to do is to produce the dead figure and say it’s me. I’ll go away to Brighton; they can’t in common decency marry before the funeral.

Jack. Then it seems you made an electric man. My chief doubt is it won’t be like enough.

( Music. He takes key from pocket, unlocks door of cupboard, and a man in black frock-coat, with black bowler, is seen seated with back to audience. )

Walter. Bell!—that may be my stepmother! ( He quickly closes cupboard. ) We might go into the other room. I call it my drawing-room, because there is a piano and three gold-fish in a bowl.

Walter. Two or three pounds. ( Looks in Jack’s hand .) I’ll take four. ( Does so. ) Stop, I’ll give you a duplicate key of the cupboard. ( Gives key. ) The figure has got my black coat on, and I want it for Brighton. When you come back, it will be wearing this one. ( Pointing to coat he is wearing. )

( Walter picks up and puts on his brown bowler, goes quickly up, unlocks cupboard, puts key back in pocket, then goes in after saying :)

( He opens door wide, showing figure seated as before, then goes in and the door closes. )

( A loud cry and two thumps, then the cupboard door slowly opens , Automaton puts head out—the actor having had time to change into the black coat before entering as the automaton. It creeps out, not opening the door more than necessary—business, tries to re-open door by hitting it. It wears the black bowler set to one side of head. Comes down C. , stiffly, and remarks, “Yow,” then goes up . Mrs. Anderson enters D. in F. with dishes and sets table in recess with back to audience. He goes towards Mrs. Anderson . She starts on seeing his strange manner. He turns and goes across and straight off D. in F. , she goes after him .)

[Pg 12] Stella ( looking out of window ). There he is turning the corner; he has changed his coat.

Jack. Let’s have a proper look at this wonderful thing before the old lady comes.

( They fetch out chair with Walter seated on it and bring it down stage, where they wheel the chair right round so that the stunned Walter faces audience. He is hatless. )

Hullo! there’s Mrs. Everest! ( He takes Walter , who has risen, by the arm .) Come with me, sir ( leads him to bedroom L. ). In there with you, quick!

( Stella meantime has hurried up with the chair and put it in cupboard and closes door .)

Phew! this is the most extraordinary thing! ( Hurries down, saying :) Where are the telegraph forms?

( As he snatches them from nail on wall, and sits to write R. , Mrs. Anderson enters D. in F. out of breath and with a telegram; she is in process of dressing, her hair being in disorder, and she wears a dressing jacket .)

[Pg 13] Jack ( looking at telegram ). From Mrs. Everest—“Have missed train, don’t wait lunch—coming by next.” Thank goodness! ( To Mrs. Anderson .) I suppose you don’t know where I can find a detective?

Stella. What are you writing? ( Takes up one of the telegrams. ) “Walter Everest, Ship Hotel , Brighton. Cyril Davidson is living. Come home.”

( Jobbins enters, hat in hand and umbrella under arm; he is a stout man, rather shabbily dressed in tweed, with tweed frock-coat, and has a square-topped bowler .)

Jobbins. My name is Jobbins, sir. ( Gives large card. ) Private inquiry and detective agent, utmost secrecy and despatch, parties watched, missing relatives traced, divorces ensured.

Jack. This is a very simple matter, Mr. Jobbins. The gentleman who resides here left home suddenly. I want him fetched back at once. ( Sits and writes note as :)

Jobbins. Yes, sir ( goes up, then returns ), where is he? ( With notebook open to take notes. )

Jack. When you find him give him this note ( closing it and giving it ), and send me a wire. ( Gives five-pound note. ) There is some cash for your expenses.

Jack. Isn’t there a photograph? ( Finds one on mantel R. ) Here we are. ( Gives it. )

Jobbins. I’ll walk about the Brighton streets with this—why, I seen this gent in the public gardens five minutes ago.

Jack ( calls out after him ). Follow him to Victoria; if you miss him, go right on. ( Comes down. ) I’ve forgotten these telegrams.

( A very loud peremptory knocking at D.L. Jack listens a moment—it is repeated .)

Jack. Now if I had not known, I should have said that was Walter. The voice was a trifle thick at starting, but now its identical.

( He goes and unlocks door and returns to R. front — Walter comes out .)

Walter. I feel as stupid ( he is still half-stunned ) as an owl. Where is Stella?

Jack. Knows there’s a devil! I really don’t quite know what to do with you till your creator returns.

Jack. Of course you don’ know your name yet; that is what you were christened, Cyril Davidson, so I call you Cyril Davidson.

Walter. Oh, you do, do you? that’s very clever of you. My mind’s a blank, I can’t remember what happened before I woke up on that chair.

Jack. I wonder what you think of the world now you’ve come into it; what are your general impressions of mankind?

Walter. I can’t see much sense in it myself; however, if it pleases you—I’m going to have some lunch. ( Goes up to table in recess. )

Jack ( calls up ). Mr. Davidson! ( No answer. ) I’ve made it angry. ( Calls. ) Mr. Davidson—I say, Davidson—Mr. Cyril Davidson—sir,—oh, it’s in a pet and declines to answer me.

Jack ( tears it open ). Jobbins is something like a detective. “Just seen Mr. Everest, he is running. Jobbins.”

Walter ( at table in alcove, mixing salad ). Nothing here but salad! ( With beer bottle. ) Beer, who wants beer?

Stella. It’s been listening in the cupboard before it lived. ( Pause and then asks. ) Should we speak to it?

Jack. It’s very bad-tempered, but I daresay it won’t hurt you. ( They go up. ) I say, Davidson!

( Walter smashes crockery with a beer bottle; they start and come down in fright, then approach again .)

[Pg 17] Walter ( turns ). Oh, you’ve come back; has Jack told you what he’s playing at?

Walter ( as they are staring at him ). When you’ve done staring, perhaps you’ll drop this.

Jack. At first I couldn’t, but there is a difference, I begin to see it, a very subtle difference; watch how it moves; aren’t its joints a little stiff and so on?

( Jack in fright falls headlong backwards over sofa L. , Stella runs and crouches R. , then they rise on knees and wave to pacify him .)

Stella. Oh, please, Mr. Davidson, please don’t be so angry; we are both awfully interested in you and really sorry for you. It must be terrible to be born full grown.

Stella. Of course, you think you’re real, but we know . You’re only a made thing, like a cheese or a pudding.

Walter ( hand to head ). You honestly say and believe that I am my own invention? ( They nod solemnly. )

Jack. Your esteemed creator left home before you began to exist, changed coats and went.

( Enter Mrs. Anderson with telegram D. in F. , and gives it . Jack opens it .)

Stella ( reading telegram ). “Have taken a cab, he’s still running.” What will happen if Mr. Jobbins catches it?

( Coming down, reading :) “He has smashed some more windows, and is still running.”

Jack. “He has just climbed a tall chimney stack marked Bovril, and is now sitting on the top.”

Walter ( snatches the wire and reads ). “They are fetching a fire escape. He keeps yowling.”

[Pg 19] Walter. Suppose the police get him and think it’s me, I’ll be blamed for all this damned thing. We must catch him. We’ll buy a gag and handcuffs as we go along.

Walter. Because he’s yowling! Stop! Stella must stay in case Mrs. Everest comes. ( Calls. ) Mrs. Anderson! I want a cab!

( Exit R. to drawing-room and immediately plays and sings “ Caressante .”)

( Mrs. Anderson enters D. in F. with a black frock-coat in tailor’s parcel, places it on table R. top end, then sees Automaton and comes out C. , to speak .)

Mrs. Anderson. Oh, he’s there, are he? ( Using handkerchief as she speaks. )

Mrs. Anderson. There’s a parcel from the tailoring folks with a message hopering as it were in time.

Mr. Everest have come back, mum; gone in his bedroom, mum; been to the pub.-house again, or I’m much mistook. Pore-young-man!

Stella ( crossing to the door ). Walter! ( Door shuts. ) How very polite of you! Are you changing? ( Voice off says, “Yow.” ) Oh, very well, if you won’t answer me. I’m in the drawing-room all alone!

Automaton ( enters L. ). Tick-chuck-yow. ( Goes up, hits door of cupboard twice. ) Chuck-yow-yow.

( Goes to recess, knocks over a chair, hits clock, etc., and goes into china cupboard in recess L. A loud noise of smashing of crockery off. Stella through this is playing and singing same air as before .)

( Walter comes in D. in F. , as soon as ever he can, walking quite quietly as contrast to the very quick exit of Automaton . Brown jacket. )

Stella ( stops singing a moment to call ). I’m not coming! ( Resumes song off. )

Walter ( takes up parcel ). My new coat at last. The moment I get Davidson under lock and key I’m [Pg 21] going to change into this and get away to Brighton. ( Puts parcel down. )

Stella ( slowly and firmly ). I believe you’re right. Now I’ve seen you both I’ll never mistake again.

( They hurriedly look about under furniture, and meet and collide up C. , and say, “Oh!” Noise in china cupboard. )

Walter. It’s in the bedroom. Run down to Mrs. Anderson and borrow the very largest blanket.

[Pg 22] Stella, Stella, I’ve locked it in the china cupboard. I don’t want the blanket. ( Returns. ) Gone in the kitchen, I suppose! ( Takes up parcel. ) Change my coat at last and get away! ( Goes into bedroom L. )

( Jack , carrying blanket of green flannel or red, enters with Stella , who has gag and handcuffs—enter D. in F. )

( Walter makes signs to them, pointing to bedroom and beckoning them to follow him there .)

Jack. Hurrah! we’ve got him now! ( Business: secure him with rope round his legs and gag, then take blanket off. ) ( Walter , gagged, groans .) No more climbing tall chimney stacks! ( Walter groans .)

Jack. It will never get the chance of that. ( Lighting a candle from mantel R. )

Jack ( with pin from waistcoat ). I want to see what it will do when I stick this pin in it. ( Groan. )

Jack. In the interests of science I’m going to bleed it. ( Loud groans. ) Give me a carving knife. ( Groans. )

( Mrs. Anderson has entered and come down—sees Walter , screams. They start. )

Mrs. Anderson. The gent I does for came down the other stair from the bedroom ( pointing L. ) and is in the kitchen premises at this here identical period of time.

Jack ( bustles Mrs. Anderson to D. in F. ). Send Mr. Everest up at once! ( Exit Mrs. Anderson. )

( Walter , who has been watching them as well as he could, now pretends to be dead .)

Hullo! I don’t think I’ll want any instruments, it’s passing away! ( Business. ) Not breathing! ( Looks at watch. ) It’s eyes are closed. Oh! it’s run down. I believe we’d be quite safe to unbind it. Just help me with this rope. Let it pass away quietly on the [Pg 24] sofa. There is something pathetic even in the death of a doll.

( They unbind Walter and raise him, he opens his eyes and bounds upon Jack — commotion .)

Walter ( as Jack looks in L. , and Stella looks in R. ). I say! ( They at once withdraw. ) Jack! Stella! ( Heads appear again. ) I say! Jack! ( Heads disappear. ) Come out, you bounder! ( Heads appear. ) Why are you making such idiots of yourselves?

( Automaton comes in D. in F. , followed by Mrs. Anderson with a telegram—they both go quickly into drawing-room R. )

Stella ( down L. with Jack points up to them as they go out ). Jack! look!

[Pg 25] Jack. That’s the piano! ( Glass is smashed off R. ) That’s the three gold-fish in the bowl!

Mrs. Anderson ( off ). Oh, help! ( She rushes in from R. in a fainting condition and gasps .) Mr. Everest have fell out of the window into the street!

( She gives a loud yell of fright in his face and rushes into bedroom L. Stella hastens after her .)

Walter. There’s going to be no mistake this time, I’m going after it myself. ( Exit D. in F. )

( Jobbins enters D. in F. , his hat bashed, a black eye, and one arm in a sling. He is in a miserable condition. )

Jack. We must search this house from top to toe. You chase up, I’ll chase down. And if we don’t find him, meet here.

Stella ( looks in L. ). Jack, she’s getting better—Jack! where are you? ( Goes in again. )

Jobbins. Missed him! ( Sits L. of R. table ). I’ll just make out my little bill.

( Jack and Jobbins bring Walter on between them D. in F. , and bring him down C. , and Mrs. Anderson enters L. )

Jack ( snatches it and reads ). From Mrs. Everest—“Potterfield fell out of his dogcart and broke his leg. The wedding is postponed.”

( Stella hides on floor front of sofa L. Mrs. Anderson hides on knees front of table R. Jobbins stands by clock against wall up L. Jack sets cupboard door open with chair against it and then goes and stands in recess to R. , side of same, and Walter goes off to hide behind the curtain of recess L. , side where there is a secret exit, so that he at once comes on as Automaton from the china cupboard .)

( A man’s hand holds out the curtain behind which Walter is supposed to be hiding. Dying scene for Automaton . Jerky business, frightens Jobbins who crouches back from it, then goes C. , stoops and grows faint, has a spasm of strength and hurries to table R. , frightening Mrs. Anderson , who gets under table. It then leans dying against table, then has a [Pg 27] fresh spasm, hurrying across to Stella , who lies away from it on floor to avoid it .)

( Then up to cupboard door, which Jack set open with a chair . Automaton dies with back to inside of door, pushing the chair clear of it in his spasm, business, finally shutting himself in as he collapses by letting the door close after him .)

( Walter comes out from behind curtain L. and down to Stella C. , takes her in his arms .)

Walter. It’s Walter this time, and if you want proof, open the cupboard and you’ll find all that remains of

*** END OF THE PROJECT GUTENBERG EBOOK THE ELECTRIC MAN ***

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

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.

Walter Everest and The Electric Man	Mr. Harry Nicholls .
Dr. Jack Strange , a young physician, his friend	Mr. Loring Fernie .
Stella , Jack’s sister, Walter’s fiancée	Miss Fitzgerald .
Mrs. Anderson , his landlady	Miss Nellie Dade .
Jobbins , a private detective and inquiry agent	Mr. Thorpe Tracey .

The Project Gutenberg eBook of The Electric Man

THE ELECTRIC MAN

THE ELECTRIC MAN

THE FULL PROJECT GUTENBERG LICENSE