The Project Gutenberg eBook of Asleep in Armageddon, by Ray Bradbury.

You don't want death and you don't expect death. Something goes wrong, your rocket tilts in space, a planetoid jumps up, blackness, movement, hands over the eyes, a violent pulling back of available power in the fore-jets, the crash....

Your name? asked hidden voices. Sale , he replied in whirling nausea. Leonard Sale. Occupation , cried the voices. Spaceman! he cried, alone in the night. Welcome , said the voices. Welcome, welcome. They faded.

He stood up in the wreckage of his ship. It lay like a folded, tattered garment around him.

Sale pried himself out the small air-lock and stood breathing the atmosphere. Luck. Sheer luck. The air was breathable. An instant's checking showed him that he had two month's supply of food with him. Fine, fine! And this—he fingered at the wreckage. Miracle of miracles! The radio was intact.

He stuttered out the message on the sending key. CRASHED ON PLANETOID 787. SALE. SEND HELP. SALE. SEND HELP.

The reply came instantly: HELLO, SALE. THIS IS ADDAMS IN MARSPORT. SENDING RESCUE SHIP LOGARITHM. WILL ARRIVE PLANETOID 787 IN SIX DAYS. HANG ON.

It was simple as that. One crashed. One had food. One radioed for help. Help came. La! He clapped his hands.

The sun rose and was warm. He felt no sense of mortality. Six days would be no time at all. He would eat, he would read, he would sleep. He glanced at his surroundings. No dangerous animals; a tolerable oxygen supply. What more could one ask. Beans and bacon, was the answer. The happy smell of breakfast filled the air.

After breakfast he smoked a cigarette slowly, deeply, blowing out. He nodded contentedly. What a life! Not a scratch on him. Luck. Sheer luck.

Good idea. Forty winks. Plenty of time to sleep, take it easy. Six whole long, luxurious days of idling and philosophizing. Sleep.

He opened his eyes. The voices stopped. Everything was normal. He shrugged. He shut his eyes casually, fitfully. He settled his long body.

He sat up. He shook his head. He put his hands to his ears. He blinked at the crashed ship. Hard metal. He felt the solid rock under his fingers. He saw the real sun warming the blue sky.

Let's try sleeping on our back, he thought. He adjusted himself, lying back down. His watch ticked on his wrist. The blood burned in his veins.

Die, die, die, die, die. Sleep, sleep, die, sleep, die, sleep, die! Oohhh. Ahhhhh. Eeeeeeeeeeeeeeee!

At last, at last , sang a high voice. Now, now. The long time, the waiting. Over, over , sang the high voice. Over, over at last!

It was like being undersea. Green songs, green visions, green time. Bubbled voices drowning in deep liquors of sea tide. Far away choruses chanting senseless rhymes. Leonard Sale stirred in agony.

Mine, mine , cried a loud voice. Mine, mine! shrieked another. Ours, ours! shrieked the chorus.

The din of metal, the crash of sword, the conflict, the battle, the fight, the war. All of it exploding, his mind fiercely torn apart!

A voice said, "I am Tylle of Rathalar. Proud Tylle, Tylle of the Blood Mound and the Death Drum. Tylle of Rathalar, Killer of Men!"

The chorus chanted. "And we the warriors, we the steel, we the warriors, we the red blood rushing, the red blood falling, the red blood steaming in the sun—"

Leonard Sale staggered under the burden. "Go away!" he cried. "Leave me, in God's name, leave me!"

He stood with the sweat boiling out of him. He was trembling so violently he could not stand. Insane, he thought. Absolutely insane. Raving insane. Insane.

He jerked the food kit open, did something to a chemical packet. Hot coffee was ready in an instant. He mouthed it, spilled gushes of it down his shirt. He shivered. He sucked in raw gulps of breath.

Let's be logical, he thought, sitting down heavily. The coffee seared his tongue. No record of insanity in the family for two hundred years. All healthy, well-balanced. No reason for insanity now. Shock? Silly. No shock. I'm to be rescued in six days. No shock to that. No danger. Just an ordinary planetoid. Ordinary, ordinary place. No reason for insanity. I'm sane.

We didn't say anything, said the mountains. We didn't say anything, said the sky. We didn't say anything, said the wreckage.

The pebbles were getting hot. The sky was big and blue. He looked at his fingers and saw the way the sun burned on every black hair. He looked at his boots and the dust on them. Suddenly he felt very happy because he made a decision. I won't go to sleep, he thought. I'm having nightmares, so why sleep. There's your solution.

He made a routine. From nine o'clock in the morning, which was this minute, until twelve, he would walk around and see the planetoid. He would write on a pad with a yellow pencil everything he saw. Then he would sit down and open a can of oily sardines and some canned fresh bread with good butter on it. From twelve thirty until four he would read nine chapters of War and Peace . He took the book from the wreckage, and laid it where he might find it later. There was a book of T. S. Eliot's poetry, too. That might be nice.

Supper would come at five-thirty and then from six until ten he would listen to the radio from Earth. There would be a couple of bad comedians telling jokes and a bad singer singing some song, and the latest news flashes, signing off at midnight with the UN anthem.

I'll play solitaire until dawn, he thought. I'll sit up and drink hot black coffee and play solitaire, no cheating, until sunrise.

He felt bad. He wanted to sleep. And the fact that he was afraid of sleep made him want to lie down all the more and shut his eyes and curl up. "Comfy-cozy?" asked his ironic censor.

"I'll just walk and look at the rocks and the geological formations and think how good it is to be alive," he said.

You'll go on, he thought, maybe one day, maybe one night, but what about the next night and the next, and the next ? Can you stay awake all that time, for six nights? Until the rescue ship comes? Are you that good, that strong?

What are you afraid of? I don't know. Those voices. Those sounds. But they can't hurt you, can they?

They might . You've got to face them some time. Must I? Brace up to it, old man. Chin up, and all that rot.

He sat down on the hard ground. He felt very much like crying. He felt as if life was over and he was entering new and unknown territory. It was such a deceiving day, with the sun warm; physically, he felt able and well, one might fish on such a day as this, or pick flowers or kiss a woman or anything. But in the midst of a lovely day, what did one get?

All right, he thought, if you are death, come get me. I want to know what all this damned nonsense is about.

I know that, also, said Leonard Sale, irritably. He turned cold. His mouth hung open wildly.

You're dead, insisted Leonard Sale, flesh writhing. You're nothing but empty wind.

So that's it, thought Leonard Sale. I'm to be a battleground, am I? Are you friends?

Leonard smiled a rictal smile. He felt ghastly. How long have you waited? he demanded.

"How long is time ?" Ten thousand years? "Perhaps." Ten million years? "Perhaps."

What are you? Thoughts, spirits, ghosts? "All of those, and more." Intelligences? "Precisely." How did you survive?

"Once upon a time, this was fertile land, a rich planet. And there were two nations, strong nations, led by two strong men. I, Iorr. And he, that one who calls himself Tylle. And the planet declined and gave way to nothingness. The peoples and the armies languished in the midst of a great war which had lasted five thousand years. We lived long lives and loved long loves, drank much, slept much, fought much. And when the planet died, our bodies withered, and, only in time, and with much science, did we survive."

What is a mind without a body , laughed Leonard Sale. I've got you there. Admit it, I've got you!

"True," said the cruel voice. "One is useless lacking the other. But survival is survival even when unconscious. The minds of our nations, through science, through wonder, survived."

But without senses, lacking eyes, ears, lacking touch, smell, and the rest? "Lacking all those, yes. We were vapors, merely. For a long time. Until today."

And now I am here, thought Leonard Sale. "You are here," said the voice. "To give substance to our mentalities. To give us our needed body."

Be careful, warned Sale. I'll blink my eyes and you'll be gone, phantoms! I'll wake up and rub you out!

"But you'll have to sleep again, some time!" cried Iorr. "And when you do, we'll be here, waiting, waiting, waiting. For you."

What do you want? "Solidity. Mass. Sensation again." You can't both have it. "We'll fight that out between us."

A hot clamp twisted his skull. It was as if a spike had been thrust and beaten down between the bivalvular halves of his brain.

Now it was terribly clear. Horribly, magnificently clear. He was their universe. The world of his thoughts, his brain, his skull, divided into two camps, that of Iorr, that of Tylle. They were using him!

Pennants flung up on a pink mind sky! Brass shields caught the sun. Grey animals shifted and came rushing in bristling tides of sword and plume and trumpet.

Ten thousand men hurtled across the small hidden stage. Ten thousand men floated on the shellacked inner ball of his eye. Ten thousand javelins hissed between the small bone hulls of his head. Ten thousand jeweled guns exploded. Ten thousand voices chanted in his ears. Now his body was riven and extended, shaken and rolled, he was screaming, writhing, the plates of his skull threatened to burst asunder. The gabbling, the shrilling, as, across bone plains of mind and continent of inner marrow, through gullies of vein, down hills of artery, over rivers of melancholy, came armies and armies, one army, two armies, swords flashed in the sun, bearing down upon each other, fifty thousand minds snatching, scrabbling, cutting at him, demanding, using. In a moment, the hard collision, one army on another, the rush, the blood, the sound, the fury, the death, the insanity!

He leaped up, raving. He ran across the desert. He ran and ran and did not stop running.

He sat down and cried. He sobbed until his lungs ached. He cried very hard and long. Tears ran down his cheeks and into his upraised, trembling fingers. "God, God, help me, oh God, help me," he said.

It was four o'clock in the afternoon. The rocks were baked by the sun. He managed, after a time, to cook himself a few hot biscuits, which he ate with strawberry jam. He wiped his stained fingers on his shirt, blindly, trying not to think.

"At least I know what I'm up against," he thought. "Oh, Lord, what a world. What an innocent looking world, and what a monster it really is. It's good no one ever explored it before. Or did they?" He shook his aching head. Pity them, who ever crashed here before, if any ever did. Warm sun, hard rocks, not a sign of hostility. A lovely world.

And the night and the voices and the insanity and the death padded in on soft feet.

"I'm all right now, though," he said, proudly. "Look at that." He displayed his hand. By a supreme effort of will, it was no longer shaking. "I'll show you who in hell's ruler here," he announced to the innocent sky. " I am." He tapped his chest.

To think that thought could live that long! A million years, perhaps, all these thoughts of death and disorder and conquest, lingering in the innocent but poisonous air of the planet, waiting for a real man to give them a channel through which they might issue again in all their senseless virulence.

Now that he was feeling better, it was all silly. All I have to do, he thought, is stay awake six nights. They won't bother me that way. When I'm awake, I'm dominant. I'm stronger than those crazy monarchs and their silly tribes of sword-flingers and shield-bearers and horn-blowers. I'll stay awake.

Where will these silly monarchs be if you put a bullet through their stage? All the world's a stage? No. You , Leonard Sale, are the small stage. And they the players. And what if you put a bullet through the wings, tearing down scenes, destroying curtains, ruining lines! Destroy the stage, the players, all, if they aren't careful!

First of all, he must radio through to Marsport, again. If there was any way they could rush the rescue ship sooner, then maybe he could hang on. Anyway, he must warn them what sort of planet this was, this so innocent seeming spot of nightmare and fever vision—

He tapped on the radio key for a minute. His mouth tightened. The radio was dead.

It had sent through the proper rescue message, received a reply, and then extinguished itself.

The proper touch of irony, he thought. There was only one thing to do. Draw a plan.

Tonight, he wrote, read six more chapters of War and Peace . At four in the morning have hot black coffee. At four-fifteen take cards from pack and play ten games of solitaire. This should take until six-thirty when—more coffee. At seven o'clock, listen to early morning programs from Earth, if the receiving equipment on the radio works at all. Does it?

Well, he wrote, from seven o'clock until eight, sing all the songs you remember, make your own entertainment. From eight until nine think about Helen King. Remember Helen. On second thought, think about Helen right now.

He checked the medical kit. There were several packets of tablets that would keep you awake. One tablet an hour every hour for six days. He felt quite confident.

He swallowed one of the stay-wake tablets with a scalding mouth of black coffee.

Well, with one thing and another it was Tolstoy or Balzac, gin-rummy, coffee, tablets, walking, more Tolstoy, more Balzac, more gin-rummy, more solitaire. The first day passed, as did the second and the third.

On the fourth day he lay quietly in the shade of a rock, counting to a thousand by fives, then by tens, to keep his mind occupied and awake. His eyes were so tired he had to bathe them frequently in cool water. He couldn't read, he was bothered with splitting headaches. He was so exhausted he couldn't move. He was numb with medicine. He resembled a waxen dummy, stuffed with things to preserve him in a state of horrified wakefulness. His eyes were glass, his tongue a rusted pike, his fingers felt as if they were gloved in needles and fur.

He followed the hand of his watch. One second less to wait, he thought. Two seconds, three seconds, four, five, ten, thirty seconds. A whole minute. Now an hour less time to wait. Oh, ship, hurry on thy appointed round!

What would happen if he just gave up, drifted off into sleep? Sleep, ah, sleep; perchance to dream. All the world a stage.... What if he gave up the unequal struggle, lapsed down?

And whichever won the battle, would take this ruin of an insane man, the shaking, laughing wild body, and wander it across the face of this world for ten, twenty years, occupying it, striding in it, pompous, holding court, making grand gestures, ordering heads severed, calling on inward unseen dancing girls. Leonard Sale, what remained of him, would be led off to some hidden cave, there to be infested with wars and worms of wars for twenty insane years, occupied and prostituted by old and outlandish thoughts.

When the rescue ship arrived it would find nothing. Sale would be hidden somewhere by a triumphant army in his head. Hidden in some cleft of rock, placed there like a nest for Iorr to lie upon in evil occupation.

Twenty years of insanity. Twenty years of torture, doing what you don't want to do. Twenty years of wars raging and being split apart, twenty years of nausea and trembling.

His head sank down between his knees. His eyes snapped and cracked and made soft noises. His eardrum popped tiredly.

I'll—I'll make a proposition with you, listen, thought Leonard Sale. You, Iorr, you, too, Tylle! Iorr, you can occupy me on Mondays, Wednesdays and Fridays. Tylle, you can take me over on Sundays, Tuesdays and Saturdays. Thursday is maid's night out. Okay?

He was Iorr, jeweled rings on his hands. He arose beside his rocket and held out his fingers, commanding blind armies. He was Iorr, ancient ruler of jeweled warriors.

With some hidden bit of awareness, his hand crept to the holster at his hip. The sleeping hand withdrew the gun there. The hand lifted, the gun pointed.

He stayed awake for another six hours, getting over his latest siege. He knew it to be hopeless now. He washed and bandaged the wound he had given himself. He wished he had aimed straighter and it was all over. He watched the sky. Two more days. Two more. Come on, ship, come on. He was heavy with sleeplessness.

No use. At the end of six hours he was raving badly. He took the gun up and put it down and took it up again, put it against his head, tightened his hand on the trigger, changed his mind, looked at the sky again.

Night settled. He tried to read, threw the book away. He tore it up and burned it, just to have something to do.

So tired. In another hour, he decided. If nothing happens, I'll kill myself. This is for certain now. I'll do it, this time.

He was very calm now, though tired. It would be over and done. He would be dead.

He watched the minute hand of his watch. One minute, five minutes, twenty-five minutes.

It was so unbelievable he started to cry. "A rocket," he said, standing up. "A rocket!" he cried, rubbing his eyes. He ran forward.

He waved frantically, running forward, leaving his gun, his supplies, everything behind. "You see that, Iorr, Tylle! You savages, you monsters, I beat you! I won ! They're coming to rescue me now! I've won, damn you."

The rocket landed. Leonard Sale stood swaying, waiting for the door to lid open.

"Sale?" they called. "We're Ship ACDN13. Intercepted your SOS and decided to pick you up ourselves. The Marsport ship won't get through until day after tomorrow. We want a spot of rest ourselves. Thought it'd be good to spend the night here, pick you up, and go on."

"Quick," said a voice, in the bleary vortex over him. "Give him a shot of food liquid, another of sedative. He needs sustenance and rest."

"No sedative, no sleep, please, don't, don't, don't !" screamed Sale, trying to get up. "You don't—understand!"

"Take it easy, old man, you're safe among us now, nothing to worry about," said the rescuer above him.

As they watched, Sale's features changed violently. He groaned and cried and snarled in his sleep. His face was riven with emotion. It was the face of a saint, a sinner, a fiend, a monster, a darkness, a light, one, many, an army, a vacuum, all, all!

He lay there, the two men over him. "What a shame," said one of them. "Can you figure that?"

"Shock. Poor guy. What a pity." They covered his face. "Did you ever see a face like that?"

"And spend the night in the open, with good air, right? Good to be in the open again. After two weeks in that damned ship."

They made a grave and said a word over it. They drank their evening coffee silently. They smelled the sweet air of the planet and looked at the lovely sky and the bright and beautiful stars.

*** END OF THE PROJECT GUTENBERG EBOOK ASLEEP IN ARMAGEDDON ***

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.

The Project Gutenberg eBook of Asleep in Armageddon

Asleep in Armageddon

By RAY BRADBURY

THE FULL PROJECT GUTENBERG LICENSE