The Recruit
Date: 2020-01-19T00:00:00+00:00
Keywords: Science fiction; Short stories; Psychological fiction; Executions and executioners -- Fiction; Teenage boys -- Fiction

The Project Gutenberg eBook of The Recruit

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Recruit

Author: Bryce Walton

Illustrator: George Schelling

Release date: January 19, 2020 [eBook #61204]
Most recently updated: October 17, 2024

Language: English

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

*** START OF THE PROJECT GUTENBERG EBOOK THE RECRUIT ***

THE RECRUIT

BY BRYCE WALTON

It was dirty work, but it would
make him a man. And kids had a
right to grow up—some of them!

[Transcriber's Note: This etext was produced from
Worlds of If Science Fiction, July 1962.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

Wayne, unseen, sneered down from the head of the stairs.

The old man with his thick neck, thick cigar, evening highball, potgut and bald head without a brain in it. His slim mother with nervously polite smiles and voice fluttering, assuring the old man by her frailty that he was big in the world. They were squareheads one and all, marking moron time in a gray dream. Man, was he glad to break out.

The old man said, "He'll be okay. Let him alone."

"But he won't eat. Just lies there all the time."

"Hell," the old man said. "Sixteen's a bad time. School over, waiting for the draft and all. He's in between. It's rough."

Mother clasped her forearms and shook her head once slowly.

"We got to let him go, Eva. It's a dangerous time. You got to remember about all these dangerous repressed impulses piling up with nowhere to go, like they say. You read the books."

"But he's unhappy."

"Are we specialists? That's the Youth Board's headache, ain't it? What do we know about adolescent trauma and like that? Now get dressed or we'll be late."

Wayne watched the ritual, grinning. He listened to their purposeless noises, their blabbing and yakking as if they had something to say. Blab-blab about the same old bones, and end up chewing them in the same old ways. Then they begin all over again. A freak sideshow all the way to nowhere. Squareheads going around either unconscious or with eyes looking dead from the millennium in the office waiting to retire into limbo.

How come he'd been stuck with parental images like that? One thing—when he was jockeying a rocket to Mars or maybe firing the pants off Asiatic reds in some steamy gone jungle paradise, he'd forget his punkie origins in teeveeland.

But the old man was right on for once about the dangerous repressed impulses. Wayne had heard about it often enough. Anyway there was no doubt about it when every move he made was a restrained explosion. So he'd waited in his room, and it wasn't easy sweating it out alone waiting for the breakout call from HQ.

"Well, dear, if you say so," Mother said, with the old resigned sigh that must make the old man feel like Superman with a beerbelly.

They heard Wayne slouching loosely down the stairs and looked up.

"Relax," Wayne said. "You're not going anywhere tonight."

"What, son?" his old man said uneasily. "Sure we are. We're going to the movies."

He could feel them watching him, waiting; and yet still he didn't answer. Somewhere out in suburban grayness a dog barked, then was silent.

"Okay, go," Wayne said. "If you wanta walk. I'm taking the family boltbucket."

"But we promised the Clemons, dear," his mother said.

"Hell," Wayne said, grinning straight into the old man. "I just got my draft call."

He saw the old man's Adam's apple move. "Oh, my dear boy," Mother cried out.

"So gimme the keys," Wayne said. The old man handed the keys over. His understanding smile was strained, and fear flicked in his sagging eyes.

"Do be careful, dear," his mother said. She ran toward him as he laughed and shut the door on her. He was still laughing as he whoomed the Olds between the pale dead glow of houses and roared up the ramp onto the Freeway. Ahead was the promising glitter of adventure-calling neon, and he looked up at the high skies of night and his eyes sailed the glaring wonders of escape.

He burned off some rubber finding a slot in the park-lot. He strode under a sign reading Public Youth Center No. 947 and walked casually to the reception desk, where a thin man with sergeant's stripes and a pansy haircut looked out of a pile of paperwork.

"Where you think you're going, my pretty lad?"

Wayne grinned down. "Higher I hope than a typewriter jockey."

"Well," the sergeant said. "How tough we are this evening. You have a pass, killer?"

"Wayne Seton. Draft call."

"Oh." The sergeant checked his name off a roster and nodded. He wrote on a slip of paper, handed the pass to Wayne. "Go to the Armory and check out whatever your lusting little heart desires. Then report to Captain Jack, room 307."

"Thanks, sarge dear," Wayne said and took the elevator up to the Armory.

A tired fat corporal with a naked head blinked up at tall Wayne. Finally he said, "So make up your mind, bud. Think you're the only kid breaking out tonight?"

"Hold your teeth, pop," Wayne said, coolly and slowly lighting a cigarette. "I've decided."

The corporal's little eyes studied Wayne with malicious amusement. "Take it from a vet, bud. Sooner you go the better. It's a big city and you're starting late. You can get a cat, not a mouse, and some babes are clever hellcats in a dark alley."

"You must be a genius," Wayne said. "A corporal with no hair and still a counterboy. I'm impressed. I'm all ears, Dad."

The corporal sighed wearily. "You can get that balloon head ventilated, bud, and good."

Wayne's mouth twitched. He leaned across the counter toward the shelves and racks of weapons. "I'll remember that crack when I get my commission." He blew smoke in the corporal's face. "Bring me a Smith and Wesson .38, shoulder holster with spring-clip. And throw in a Skelly switchblade for kicks—the six-inch disguised job with the double springs."

The corporal waddled back with the revolver and the switchblade disguised in a leather comb case. He checked them on a receipt ledger, while Wayne examined the weapons, broke open the revolver, twirled the cylinder and pushed cartridges into the waiting chamber. He slipped the knife from the comb case, flicked open the blade and stared at its gleam in the buttery light as his mouth went dry and the refracted incandescence of it trickled on his brain like melted ice, exciting and scary.

He removed his leather jacket. He slung the holster under his left armpit and tested the spring clip release several times, feeling the way the serrated butt dropped into his wet palm. He put his jacket back on and the switchblade case in his pocket. He walked toward the elevator and didn't look back as the corporal said, "Good luck, tiger."

Captain Jack moved massively. The big stone-walled office, alive with stuffed lion and tiger and gunracks, seemed to grow smaller. Captain Jack crossed black-booted legs and whacked a cane at the floor. It had a head shaped like a grinning bear.

Wayne felt the assured smile die on his face. Something seemed to shrink him. If he didn't watch himself he'd begin feeling like a pea among bowling balls.

Contemptuously amused little eyes glittered at Wayne from a shaggy head. Shoulders hunched like stuffed sea-bags.

"Wayne Seton," said Captain Jack as if he were discussing something in a bug collection. "Well, well, you're really fired up aren't you? Really going out to eat 'em. Right, punk?"

"Yes, sir," Wayne said. He ran wet hands down the sides of his chinos. His legs seemed sheathed in lead as he bit inwardly at shrinking fear the way a dog snaps at a wound. You big overblown son, he thought, I'll show you but good who is a punk. They made a guy wait and sweat until he screamed. They kept a guy on the fire until desire leaped in him, ran and billowed and roared until his brain was filled with it. But that wasn't enough. If this muscle-bound creep was such a big boy, what was he doing holding down a desk?

"Well, this is it, punk. You go the distance or start a butterfly collection."

The cane darted up. A blade snicked from the end and stopped an inch from Wayne's nose. He jerked up a shaky hand involuntarily and clamped a knuckle-ridged gag to his gasping mouth.

Captain Jack chuckled. "All right, superboy." He handed Wayne his passcard. "Curfew's off, punk, for 6 hours. You got 6 hours to make out."

"Yes, sir."

"Your beast is primed and waiting at the Four Aces Club on the West Side. Know where that is, punk?"

"No, sir, but I'll find it fast."

"Sure you will, punk," smiled Captain Jack. "She'll be wearing yellow slacks and a red shirt. Black hair, a cute trick. She's with a hefty psycho who eats punks for breakfast. He's butchered five people. They're both on top of the Undesirable list, Seton. They got to go and they're your key to the stars."

"Yes, sir," Wayne said.

"So run along and make out, punk," grinned Captain Jack.

A copcar stopped Wayne as he started over the bridge, out of bright respectable neon into the murky westside slum over the river.

Wayne waved the pass card, signed by Captain Jack, under the cop's quivering nose. The cop shivered and stepped back and waved him on. The Olds roared over the bridge as the night's rain blew away.

The air through the open window was chill and damp coming from Slumville, but Wayne felt a cold that wasn't of the night or the wind. He turned off into a rat's warren of the inferiors. Lights turned pale, secretive and sparse, the uncared-for streets became rough with pitted potholes, narrow and winding and humid with wet unpleasant smells. Wayne's fearful exhilaration increased as he cruised with bated breath through the dark mazes of streets and rickety tenements crawling with the shadows of mysterious promise.

He found the alley, dark, a gloom-dripping tunnel. He drove cautiously into it and rolled along, watching. His belly ached with expectancy as he spotted the sick-looking dab of neon wanly sparkling.

FOUR ACES CLUB

He parked across the alley. He got out and stood in shadows, digging the sultry beat of a combo, the wild pulse of drums and spinning brass filtering through windows painted black.

He breathed deep, started over, ducked back. A stewbum weaved out of a bank of garbage cans, humming to himself, pulling at a rainsoaked shirt clinging to a pale stick body. He reminded Wayne of a slim grub balanced on one end.

The stewbum stumbled. His bearded face in dim breaking moonlight had a dirty, greenish tinge as he sensed Wayne there. He turned in a grotesque uncoordinated jiggling and his eyes were wide with terror and doom.

"I gotta hide, kid. They're on me."

Wayne's chest rose and his hands curled.

The bum's fingers drew at the air like white talons.

"Help me, kid."

He turned with a scratchy cry and retreated before the sudden blast of headlights from a Cad bulleting into the alley. The Cad rushed past Wayne and he felt the engine-hot fumes against his legs. Tires squealed. The Cad stopped and a teener in black jacket jumped out and crouched as he began stalking the old rummy.

"This is him! This is him all right," the teener yelled, and one hand came up swinging a baseball bat.

A head bobbed out of the Cad window and giggled.

The fumble-footed rummy tried to run and plopped on wet pavement. The teener moved in, while a faint odor of burnt rubber hovered in the air as the Cad cruised in a slow follow-up.

Wayne's breath quickened as he watched, feeling somehow blank wonder at finding himself there, free and breaking out at last with no curfew and no law but his own. He felt as though he couldn't stop anything. Living seemed directionless, but he still would go with it regardless, until something dropped off or blew to hell like a hot light-bulb. He held his breath, waiting. His body was tensed and rigid as he moved in spirit with the hunting teener, an omniscient shadow with a hunting license and a ghetto jungle twenty miles deep.

The crawling stewbum screamed as the baseball bat whacked. The teener laughed. Wayne wanted to shout. He opened his mouth, but the yell clogged up somewhere, so that he remained soundless yet with his mouth still open as he heard the payoff thuds where the useless wino curled up with stick arms over his rheumy face.

The teener laughed, tossed the bat away and began jumping up and down with his hobnailed, mail-order air force boots. Then he ran into the Cad. A hootch bottle soared out, made a brittle tink-tink of falling glass.

"Go, man!"

The Cad wooshed by. It made a sort of hollow sucking noise as it bounced over the old man twice. Then the finlights diminished like bright wind-blown sparks.

Wayne walked over and sneered down at the human garbage lying in scummed rain pools. The smell of raw violence, the scent of blood, made his heart thump like a trapped rubber ball in a cage.

He hurried into the Four Aces, drawn by an exhilarating vision ... and pursued by the hollow haunting fears of his own desires.

He walked through the wavering haze of smoke and liquored dizziness and stood until his eyes learned the dark. He spotted her red shirt and yellow legs over in the corner above a murky lighted table.

He walked toward her, watching her little subhuman pixie face lift. The eyes widened with exciting terror, turned even paler behind a red slash of sensuous mouth. Briefed and waiting, primed and eager for running, she recognized her pursuer at once. He sat at a table near her, watching and grinning and seeing her squirm.

She sat in that slightly baffled, fearful and uncomprehending attitude of being motionless, as though they were all actors performing in a weirdo drama being staged in that smoky thick-aired dive.

Wayne smiled with wry superiority at the redheaded psycho in a dirty T-shirt, a big bruiser with a gorilla face. He was tussling his mouse heavy.

"What's yours, teener?" the slug-faced waiter asked.

"Bring me a Crusher, buddyroo," Wayne said, and flashed his pass card.

"Sure, teener."

Red nuzzled the mouse's neck and made drooly noises. Wayne watched and fed on the promising terror and helplessness of her hunted face. She sat rigid, eyes fixed on Wayne like balls of frozen glass.

Red looked up and stared straight at Wayne with eyes like black buttons imbedded in the waxlike skin of his face. Then he grinned all on one side. One huge hand scratched across the wet table top like a furious cat's.

Wayne returned the challenging move but felt a nervous twitch jerk at his lips. A numbness covered his brain like a film as he concentrated on staring down Red the psycho. But Red kept looking, his eyes bright but dead. Then he began struggling it up again with the scared little mouse.

The waiter sat the Crusher down. Wayne signed a chit; tonight he was in the pay of the state.

"What else, teener?"

"One thing. Fade."

"Sure, teener," the waiter said, his breathy words dripping like syrup.

Wayne drank. Liquored heat dripped into his stomach. Fire tickled his veins, became hot wire twisting in his head.

He drank again and forced out a shaky breath. The jazz beat thumped fast and muted brass moaned. Drumpulse, stabbing trumpet raped the air. Tension mounted as Wayne watched her pale throat convulsing, the white eyelids fluttering. Red fingered at her legs and salivated at her throat, glancing now and then at Wayne, baiting him good.

"Okay, you creep," Wayne said.

He stood up and started through the haze. The psycho leaped and a table crashed. Wayne's .38 dropped from its spring-clip holster and the blast filled the room. The psycho screamed and stumbled toward the door holding something in. The mouse darted by, eluded Wayne's grasp and was out the door.

Wayne went out after her in a laughing frenzy of release. He felt the cold strange breath of moist air on his sweating skin as he sprinted down the alley into a wind full of blowing wet.

He ran laughing under the crazy starlight and glimpsed her now and then, fading in and out of shadows, jumping, crawling, running with the life-or-death animation of a wild deer.

Up and down alleys, a rat's maze. A rabbit run. Across vacant lots. Through shattered tenement ruins. Over a fence. There she was, falling, sliding down a brick shute.

He gained. He moved up. His labored breath pumped more fire. And her scream was a rejuvenation hypo in his blood.

She quivered above him on the stoop, panting, her eyes afire with terror.

"You, baby," Wayne gasped. "I gotcha."

She backed into darkness, up there against the sagging tenement wall, her arms out and poised like crippled wings. Wayne crept up. She gave a squeaking sob, turned, ran. Wayne leaped into gloom. Wood cracked. He clambered over rotten lumber. The doorway sagged and he hesitated in the musty dark. A few feet away was the sound of loose trickling plaster, a whimpering whine.

"No use running," Wayne said. "Go loose. Give, baby. Give now."

She scurried up sagging stairs. Wayne laughed and dug up after her, feeling his way through debris. Dim moonlight filtered through a sagging stairway from a shattered skylight three floors up. The mouse's shadow floated ahead.

He started up. The entire stair structure canted sickeningly. A railing ripped and he nearly went with it back down to the first floor. He heard a scream as rotten boards crumbled and dust exploded from cracks. A rat ran past Wayne and fell into space. He burst into the third-floor hallway and saw her half-falling through a door under the jagged skylight.

Wayne took his time. He knew how she felt waiting in there, listening to his creeping, implacable footfalls.

Then he yelled and slammed open the door.

Dust and stench, filth so awful it made nothing of the dust. In the corner he saw something hardly to be called a bed. More like a nest. A dirty, lumpy pile of torn mattress, felt, excelsior, shredded newspapers and rags. It seemed to crawl a little under the moon-streaming skylight.

She crouched in the corner panting. He took his time moving in. He snickered as he flashed the switchblade and circled it like a serpent's tongue. He watched what was left of her nerves go to pieces like rotten cloth.

"Do it quick, hunter," she whispered. "Please do it quick."

"What's that, baby?"

"I'm tired running. Kill me first. Beat me after. They won't know the difference."

"I'm gonna bruise and beat you," he said.

"Kill me first," she begged. "I don't want—" She began to cry. She cried right up in his face, her wide eyes unblinking, and her mouth open.

"You got bad blood, baby," he snarled. He laughed but it didn't sound like him and something was wrong with his belly. It was knotting up.

"Bad, I know! So get it over with, please. Hurry, hurry."

She was small and white and quivering. She moaned but kept staring up at him.

He ripped off his rivet-studded belt and swung once, then groaned and shuffled away from her.

He kept backing toward the door. She crawled after him, begging and clutching with both arms as she wriggled forward on her knees.

"Don't run. Please. Kill me! It'll be someone else if you don't. Oh, God, I'm so tired waiting and running!"

"I can't," he said, and sickness soured in his throat.

"Please."

"I can't, I can't!"

He turned and ran blindly, half-fell down the cracking stairs.

Doctor Burns, head of the readjustment staff at the Youth Center, studied Wayne with abstract interest.

"You enjoyed the hunt, Seton? You got your kicks?"

"Yes, sir."

"But you couldn't execute them?"

"No, sir."

"They're undesirables. Incurables. You know that, Seton?"

"Yes, sir."

"The psycho you only wounded. He's a five-times murderer. And that girl killed her father when she was twelve. You realize there's nothing can be done for them? That they have to be executed?"

"I know."

"Too bad," the doctor said. "We all have aggressive impulses, primitive needs that must be expressed early, purged. There's murder in all of us, Seton. The impulse shouldn't be denied or suppressed, but educated. The state used to kill them. Isn't it better all around, Seton, for us to do it, as part of growing up? What was the matter, Seton?"

"I—felt sorry for her."

"Is that all you can say about it?"

"Yes, sir."

The doctor pressed a buzzer. Two men in white coats entered.

"You should have got it out of your system, Seton, but now it's still in there. I can't turn you out and have it erupt later—and maybe shed clean innocent blood, can I?"

"No, sir," Wayne mumbled. He didn't look up. "I'm sorry I punked out."

"Give him the treatment," the doctor said wearily. "And send him back to his mother."

Wayne nodded and they led him away. His mind screamed still to split open some prison of bone and lay bare and breathing wide. But there was no way out for the trapped. Now he knew about the old man and his poker-playing pals.

They had all punked out.

Like him.

*** END OF THE PROJECT GUTENBERG EBOOK THE RECRUIT ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- THE RECRUIT

- THE FULL PROJECT GUTENBERG LICENSE