Death of a mutant

By Charles V. De Vet

The Project Gutenberg eBook of Death of a mutant
    
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: Death of a mutant

Author: Charles V. De Vet

Release date: April 19, 2024 [eBook #73431]

Language: English

Original publication: New York, NY: Headline Publications, Inc, 1956

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


*** START OF THE PROJECT GUTENBERG EBOOK DEATH OF A MUTANT ***





                           DEATH OF A MUTANT

                         By CHARLES V. De VET

                         _illustrated by_ EMSH

        He was born with strange and wonderful powers. But the
        world was not yet ready to accept the benefit of those
         powers.--The world kills what it does not understand!

           [Transcriber's Note: This etext was produced from
                 Super-Science Fiction February 1957.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]


The boy stood on the low hill with his head tipped back and his
throat exposed to the early morning chill. He was dressed in faded
trousers--from which most of the tan coloring had long since been
washed away--and a coarse blue-denim work shirt.

The wind swept his blond hair back in loose flat waves, and with soft
insistence tugged at his slack-limbed body. He spread his legs wide,
and breathed the morning air deep into his lungs. When he expelled
the breath his shoulders relaxed, and his arms dropped to his sides,
without strength.

Slowly, with an effort of will, he brought his attention back to his
surroundings. Below him a dog began an excited barking. The barking
changed abruptly to a yelp, and stopped.

The boy straightened and drew back a step. Down below a figure darted
suddenly from a low patch of brush and ran to another, kicking up
splashes of red sand. To his right a man's voice sounded a sharp cry of
warning.

The boy shivered. Somewhere below him a bird repeated, monotonously, a
brief ripple of song.

After a few minutes a block-chested man stepped into view. His
shoulders were hunched in a black leather jacket. He looked
apprehensively up at the boy. When nothing happened, he called, "I'm
coming up. Keep your hands in plain sight." He started up the hill,
measuring his steps purposefully. Once he paused and pulled at his
broad-brimmed hat, then came on resolutely.

There was a day's growth of whiskers on the man's chin and jowls, and
despite the cold a shiny film of perspiration glistened on his cheeks.
He drew a pistol from a chest holster as he approached.

Two paces away, the man halted. "I'm Sheriff Derwin," he said in a
stilted, unnormal voice. "I'm placing you under arrest. Do not resist.
We have you surrounded."

The boy made no reply, but continued to watch the man, blinking several
times, as though considering what had been said. After a minute he
spread his hands wide in a weary motion of acquiescence.

"Good." Derwin gestured. Three men left their places in the brush and
began to move cautiously up the hill.

"I'll have to search him," Derwin said over his shoulder. His voice
was too loud in the morning air. "Keep him covered. Remember, he's a
killer." He holstered his own gun and moved unwillingly closer to the
boy. "Raise your hands." The boy did as he was told; Derwin patted him
quickly about the chest and hips.

The examination was only barely adequate. "When we take him in," Derwin
said, "careful not to get too near him. He can kill you, just with his
hands. Stay out of reach."

Derwin put his prisoner in one of the three cells in White Bear Lake's
jail. The boy offered no resistance. He stood with his head resting
wearily against one of the steel bars and watched without apparent
interest as his cell door was locked. But when Derwin made as though to
leave, he straightened and his features livened. His expression became
one not quite of pleading, and not quite a question; but rather of
hopeful expectation--as though he had some deep need which he expected
Derwin to recognize.

The sheriff stood for a minute, meeting the boy's intent gaze, then
shrugged and went on toward his office. He limped a little. An old knee
cap injury had been aggravated by his chase of the boy, and now it was
swollen and stiff.

       *       *       *       *       *

The boy was lying on the floor of his cell asleep when the sheriff
came back with a platter of food. Derwin unlocked the door quietly,
brought the food in and set it on a table in one corner of the cell. As
quietly, he let himself out again. Standing in the corridor, with the
locked door again between them, he called, "Wake up!"

The boy's body did not move, but his eyes opened wide. With their
instant awareness they were like the eyes of a big cat in a zoo, but
without the cat's easy hatred. "Your dinner's on the table," Derwin
said.

The boy rose swiftly to his feet and looked around him. He saw the
food, went over and began eating. He used his hands, eating the meat
first, in great wolfing bites. When the meat was gone he ate the
potatoes. He tasted the moist cabbage salad, but did not eat it.

Derwin watched him for the few minutes it took. "I guess they never
taught you to use a knife and fork," he murmured, half to himself.

The boy came to the cell door and grasped the bars in his big hands. He
looked at Derwin, and his expression was the same expectant one that
had been so disturbing earlier.

The sheriff had stepped back, out of reach, as the boy approached. "Did
you want something?" he asked.

The boy made no reply.

"Can you understand what I say?" Derwin asked.

After a brief, puzzled pause the boy nodded.

"You can?" Derwin asked doubtfully. "I know you mutants had some way
of communicating with each other, without speaking, but I thought the
profs at the University decided you couldn't understand us." He seemed
to make a sudden decision. "I'll be right back," he said.

Derwin returned to his office and picked up his desk chair, carried
it to the corridor opposite the boy's cell and sat down. "If you do
understand what I say, maybe we can have some kind of confab. Can you
speak?"

The boy made no reply.

"No, I guess you can't," Derwin said. "Or they'd have found out about
it before this." He considered a moment. "How about us setting up some
kind of code," he suggested. "I'll ask questions, and you nod if I'm
right, and shake your head if I'm wrong?"

The boy made no answer except for his continued expectant gaze.

Derwin shrugged. "O.K. If you can't, you can't. The profs had a theory
that you couldn't understand what they said, but that you got some of
the meaning of the words from the sound and the inflections."

Still there was no response.

       *       *       *       *       *

"Maybe you can read my mind?" Derwin waited a moment. "You're a strange
one, whatever the answers might be. When you eight mutants were found
in the lost islands area of the Lake of the Woods the doctor who
had brought you there--evidently when you were very young--had been
dead for years. He had been a famous genetics specialist, and had
probably cared for you from birth. The profs even believe he must have
influenced your development before birth. Anyway, there was no doubt
that you were all geniuses of a high order. But there was a screw loose
somewhere. When you were brought to the University of Minnesota you
soon turned into a pack of murderers.

"And you were brilliant enough to get by with it for months before the
authorities learned what you were doing. The other seven were killed,
either fighting or trying to get away. You're the last one left now.
Wouldn't you like to make your peace--before it's too late for you,
too?"

There was no suggestion of truculence or stubbornness in the boy's
lack of response. It was as though Derwin's statements had not merited
answers, or that the answers had been too obvious to need saying.

Derwin leaned back in his chair and folded his hands across his
stomach. "All right," he said. "If you aren't interested in that, let's
get back to your immediate problem. You know what you were arrested
for?" He did not wait for an answer. "You're accused of killing at
least thirty people," he said. "And they have plenty of proof--enough
to hang you. I'd say your only defense would be that you didn't know
what you were doing."

Derwin made an impatient motion to rise. "Oh, there's no use going on,"
he said. "Either you can't understand me, or you know all this already."

Abruptly the boy was nodding his head: nodding it vigorously.

Derwin remained sitting. "Why are you doing that?" he asked.

The boy blinked his eyes, pressing the lids tightly together, and
opened them again.

"What's that mean? Do you want help of some kind?" Derwin paused. "I'd
like to do what I can, but if you don't tell me, or show me--how can I
help you? If you have any way of communicating, use it now, or we'll
never get anywhere."

The boy's forehead creased with lines of effort. His mouth opened--but
no sound came out.

Derwin ran his fingers along the stubble of his jaw line. "I suppose
if the profs and psychiatrists at the U couldn't find a way to talk
with you, I can't. I understand when they couldn't learn how you
mutants read minds--or even if you did--they tried to teach you to
speak, and to live like human beings. You couldn't, or wouldn't, learn
either. You wouldn't work, and nothing seemed to interest you. Until
toward the end you turned surly, and scratched and even bit people who
annoyed you." Derwin paused again. "Have I touched on what's troubling
you yet?"

The boy moistened his lips and nodded, his face eager.

With a puzzled shake of his head Derwin tried again. "All right. The
first person your group killed, I've read, might have been the doctor
who raised you. Though personally I don't believe that. But there's no
doubt that you did kill others."

Derwin frowned. A smile had come to the boy's face as he listened--as
though he were recalling something pleasant.

The sheriff cocked his head to one side and shifted his position. He
spoke with less enthusiasm now. "After the others were killed, they
lost all trace of you until the day you visited Anchor Hospital in St.
Paul. The attendants there didn't recognize you, and assumed you were
just another visitor. But when you left, twenty-seven patients were
dead!"

A small shiver ran through the muscles of Derwin's back. The smile had
returned to the boy's pink cheeks: a smile almost of delight.

Derwin leaned forward, making no effort to hide his annoyance as he
spoke. "You'll hang for those killings!" he said. "We still don't
know how you do it, but the other patients in some of those wards saw
you put your hands on the people who died, and saw them go limp. They
didn't realize at the time that you had killed them."

The smile on the boy's face was as tranquil as the smile of a cherub.

A flow of angry blood crept into Derwin's face. "Just in case they
can't pin any of those murders on you," he said, "we sure as hell can
convict you of the three here in White Bear Lake." Derwin pulled
himself to his feet. "I'll do my best to see that you hang for them,"
he said deliberately. His voice was low and flat. He limped away,
dragging his chair at his side.

The boy's expression of urgent request changed to one of reproach when
he realized that Derwin was leaving; disappointment showed bleakly on
his face. It was as though he had expected something more from Derwin.

       *       *       *       *       *

The next morning Derwin drove in the last car in a funeral procession
and waited at the fringe of the crowd as the coffin was lowered into
the ground. The deceased had been the last victim of the boy killer.

The mourners filed out quickly after the services, and Derwin found no
opportunity, that would not have involved an awkward intrusion, to talk
with any of them. However, as he walked slowly back to his car, a young
man of about twenty-five drove up in an old automobile and parked at
the edge of the grave. He got out from behind the wheel of the vehicle
and went around to the back. From the trunk he removed a shovel and
carried it to the grave. He nodded to the sheriff and began pushing
dirt from the edge into the hole.

Derwin strolled over and stood across the open grave from the shoveler.
Neither spoke until the young man stopped to wipe his forehead. "You're
the sheriff, aren't you?" he asked Derwin.

Derwin nodded.

"I understand you think that the wild boy killed Carl?" The young man
inclined his head toward the grave.

"Was Carl his first name?" Derwin answered noncommittally.

"Yes. Carl van Sistine. He was a good friend of mine. When we were kids
we used to play here, right in this graveyard. We hunted rabbits with
sling shots. I don't remember that we ever killed any. We were always
going to make a fire and roast the rabbits we shot, but as I said, we
never got any."

Derwin waited.

"The wild boy didn't kill him."

"What makes you think not?" Derwin asked. "No one saw him do it, but
two witnesses did see him run out of the house, and they found Carl
dead right after."

"I know that." The young man rolled his shirt sleeves up over hairy
forearms. "But did you know that Carl had something wrong with his
head--a tumor or something? He'd had it ever since he was a little
boy. Sometimes we'd be playing and all at once he'd stop dead still.
If there was a chair, or anything that moved around, he'd grab it and
holler for me to hold onto the other end. I'd hold it and he'd pull,
until he couldn't hang on anymore. Then he'd fall over backwards. He'd
lay there with his eyes rolled back until all I could see were the
whites. His face would be pale, and screwed-up looking, and sweat would
come out all over his body. His clothes would be wet with it. All the
time he'd be groaning and crying."

The young man took off his striped workman's cap and ran his fingers
through wavy brown hair. "The last few years he couldn't leave the
house. I used to visit him at first, but at last he didn't even
recognize me. And when his attacks came on he'd holler with pain, and
finally I couldn't stand to hear him anymore. That's what he died
from--the tumor in his head--and not the wild boy killing him."

"The doctors said it shouldn't have killed him--yet," Derwin demurred.

"I know. But the doctors were wrong." The young man began shoveling
dirt into the hole again.

       *       *       *       *       *

The sun was directly overhead when Derwin climbed out of his car,
pushing his game leg stiffly ahead of him. He went up the flight of
steps at the front of a large, white house and pressed the button
beside the door. He rang three times without an answer.

On the way back down the steps he heard the sound of iron on iron
coming from the back of the house. He walked around and found an old
man with stooped shoulders throwing horseshoes at a peg set in the
ground.

"Good afternoon," Derwin said.

The old man paused in his throwing and nodded in reply.

"I'd like to talk to you again about your sister's death," Derwin said.
"I presume you heard that we caught her killer?"

The old man sighted a shoe carefully and threw at a farther peg.

"Will you tell me again just what happened?" Derwin asked.

"I was sitting with her when he came in." The old man had a red face
and neck, with a border of white just above the collar line. "He hadn't
knocked. At least I didn't hear him. Just all at once he was standing
by the bed, smiling. I was going to say something, but he looked at my
sister, then at me, and he seemed so young, and kind of fresh-looking,
that I just smiled back. Then he sat on the bed alongside Louise, and
put his hand on her chest, and she closed her eyes, and her moaning
stopped--for the first time in almost a week. I didn't know until after
he'd gone that she was dead."

"How did it happen you didn't report her death to my office? We only
learned about it from the doctor."

The old man's attention seemed absorbed by something on the roof of a
neighboring house. He stood for several minutes, then slowly looked
down at his hand in mild surprise. He had been gripping, and twisting
an iron shoe in his hand so hard that a corner had cut a ragged gash in
the meaty forepart of his thumb. Blood flowed from the cut down the end
of the shoe and dripped sluggishly to the ground.

Irritably the old man tossed the shoe aside and took a handkerchief
from a rear pocket of his trousers and wrapped it around the injured
thumb. "I was glad she died," he said half-defiantly.

Derwin's eyebrows raised questioningly.

"That may sound heartless." The old man's voice was mild now. "But it
isn't. My sister had cancer--had it bad. She was dying from it. And she
was suffering horribly. Even drugs gave her no relief toward the last.
During her periods of consciousness she begged the doctor to give her
something so she could die, but he wouldn't. I asked him to put her out
of her misery, too. But he wouldn't listen to me either.

"Mr. Derwin...." The old man brought his face closer to Derwin's.
"Every human being should have the right to die. When the time comes
that medicine can't help them any more, and they have nothing to look
forward to, except suffering, they should be allowed to die if they
want to." Abruptly he turned his back and walked into the house.

       *       *       *       *       *

Dusk was edging into darkness when Derwin reached the home of the boy's
third victim. The family lived in an upper duplex apartment. A large
wreath hung on the apartment door. The woman who answered his knock was
middle-aged, with dark hair and dark eyes, and quick, nervous hands.
"Come in," she invited listlessly, as she recognized the sheriff.

Derwin followed her to a chair in the front room and sat down. "Can you
give me any details of your husband's death that you might not have
remembered when I was here before?" he asked.

"You've got to see that that maniac pays for his killings," the woman
spoke rapidly, excitedly, ignoring the sheriff's question. "If you
don't, I'll...." Her voice broke and she began to cry. After a few
minutes she wiped her eyes with a square of tissue which she took from
her apron pocket. "I'm all right now," she said. "What do you want to
know?"

"Anything you remember. You might tell me first what time of day it
happened."

"About the same time in the evening as now," the woman answered. "We
had already finished eating. George was lying here on the davenport and
I...."

"Pardon me a minute," Derwin interrupted. "How ill was your husband?"

"He was too sick to work, though he could still get around a little. He
had silicosis of the lungs, you know."

Derwin nodded. "Go on, please."

The woman needed no urging. Apparently she enjoyed talking. "Where
was I? Oh, yes. I heard something scratching at the door--it sounded
like a cat--and I went to see what it was. The boy was standing there,
smiling. I didn't know who he was then. He looked so young, and so
sweet-like, that I didn't ask what he wanted; I just let him come in.

"When George saw him I thought, at first, that he knew him, because
he sat up straight and spoke to the boy. He said something like, 'So
you've come?' He looked glad, as though he was happy. Then he changed
and looked scared. But he didn't say anything more, and neither did the
boy. Finally he sort of relaxed, and sighed, and let himself ease back
on the davenport. He asked me to make a pot of coffee, and I left and
went into the kitchen."

The woman stopped and blew her nose. "That's all, except that the boy
was gone when I came back--and George was dead."

Derwin looked down at the hat on his lap and searched for a way to
express what he wanted to say. At last he looked up. "Some people
believe the mutants killed only people who were very sick--people who
had no chance to live anyway, and probably wanted to die quickly?" His
voice rose doubtfully as he finished.

"That's not true." There was no expression in the woman's flat voice.
"I read where they killed some that weren't sick at all. And how would
they know how sick the others were? Or if they wanted to die?"

"How about your husband?"

"George did suffer quite a bit. But I'm certain he never wanted to die."

"Was there any chance that he might have recovered from his particular
illness?"

"The doctors said not, but what right did that boy have to play God and
kill him? And how do any of us know that there won't be a new treatment
or a new drug discovered, maybe next week or next month, that could
have saved George? What justification can you have for a cold-blooded
murderer like that?"

Derwin looked down again at his hat and shifted his feet uncomfortably.

The woman said, "George had a pension that supported us. But it stopped
when he died. How am I going to live now? Who's going to support my
children--or take care of them while I work?" There was still no
emotion in the woman's voice, but tears which she disregarded ran down
her cheeks.

Derwin stood up. "I don't know," he said. "I was just wondering if what
seems wrong to us might not seem right to him," he apologized.

       *       *       *       *       *

The next morning Derwin stopped in at a store on Mahtomedi Avenue and
bought a pair of trousers, a shirt, a set of underwear, and a pair of
socks. Two doors down he stopped in at another store and bought a pair
of shoes.

He drove to the jail and shoved the clothing through the bars to the
boy. "Here's something better for you to wear," he said and walked on
to his office.

The boy carried his bundle to the rear of the cell and began changing.
He was buttoning his shirt when he glanced through the small barred
window in the wall and saw Derwin crossing the street toward a corner
lunch room. A flush of excitement appeared on his cheeks and he
finished dressing hurriedly.

Moving to the front of the cell he spread out his right hand and flexed
the fingers several times. His face assumed an expression of deep
abstraction.

A faint haze began to waver along the edges of the hand, and its flesh
appeared to move in small ripples. The boy pressed the hand against
the door lock--and it passed through the metal. The lock gave a muted
metallic click. The door swung open.

The boy's hand returned to its normal appearance as he withdrew it, but
it hung limp and pale. He massaged it vigorously as he stepped out into
the jail corridor. He was careful not to let himself be seen when he
left the jail.

An hour later he had left White Bear Lake.

When Derwin returned to the jail and found the boy gone he was not much
surprised. He walked slowly to his office and picked up the phone.
"Let me speak to the sheriff," he said.... "Gibbons?" ... "This is
Derwin, out at White Bear Lake." ... "Fine." ... "The wild boy escaped
about an hour ago. He's sprung his cell lock someway." ... "No, I
don't know which way he went, but I figured he might head back to St.
Paul." ... "O. K." ... "I wish you'd do me a favor. Ask your men--and
the police--not to shoot him. I'm sure he won't resist when you arrest
him." ... "I know." ... "I know." He sighed. "That's right. You have to
do what you think best." He hung up.

       *       *       *       *       *

The boy went directly from the jail to the railroad tracks, nearly a
mile past the depot. He hid in the weeds along the track until a slow
freight passed, then climbed into the open door of a boxcar.

The string of freight cars was cut out of the train in the St. Paul
yards. The boy stayed inside his car until several hours after dark,
when he left his hiding place and went along the Mississippi, past
Carlson's Landing, and up to the post office. There he stopped and
seemed to be deciding what he should do next.

A half block away a policeman was checking the tires of parked cars.
The boy saw him and began walking rapidly in the opposite direction. He
hesitated at the street corner, then walked boldly out into the lighted
area of the intersection. He had nearly reached the opposite sidewalk
when he heard a shout behind him. He began to run. A police whistle
sounded shrilly.

       *       *       *       *       *

When the boy entered the park he appeared to wander casually, with his
interest centered on no particular person or place, but his steps took
him down a diagonal walk that led to the young mother and the carriage.
The child of about six inside the carriage had a large head that
wobbled spasmodically above its thin frame.

The boy walked past the mother without attracting her attention, and
bent toward the child.

A terrified scream at his side jerked him erect.

"The beast!" The woman screamed with all the power in her lungs. She
sprang at the boy, still screaming, and dug clawed fingers into his
cheeks. "Get away from him, you beast! You horrible beast!"

Fear blossomed up into the boy's face at the woman's scream. He pushed
her aside and glared wildly about him.

The nearest exit from the park was just ahead. Swiftly he put his head
down and scurried through the exit. Once in the street he increased his
speed and ran for six blocks, past the auditorium, and across Seven
Corners, until the breath whistled in his throat. As he staggered to a
stop a police siren sounded behind him.

The boy forced his tired legs to move again and sprinted down an alley
that opened to his left. Halfway through the alley he heard the screech
of tires behind him--and the police siren was at his back. He came to
a low fence bordering the alley, between an apartment building and an
older, private, home. Without pausing he rested a hand on the fence
railing and vaulted over.

Beneath him as he hung suspended he saw a child's large sand box. His
right foot, with his weight behind it, landed on the handle of a toy
wagon, and his ankle twisted painfully under him. He sprawled forward,
ripping the skin of his forearm on the side of the sand box as he fell.

As quickly as he was able he pulled himself to his feet and limped
across the yard, past the small house, and out into the street. The
police siren still sounded behind him, and now another started up in
the block ahead.

He turned to the right and ran with all the speed he could command. A
block ahead loomed the Mississippi. With his last remaining strength he
stumbled toward it.

A police car arrived just as he dived into the murky water.

Two policemen scrambled from the car and ran toward the river bank.
Sergeant Robert Kirk pulled his pistol from its holster as the boy's
head reappeared above the water.

"Halt!" he shouted. "Halt or I'll shoot!"

The boy never paused.

Kirk brought the gun up and sighted along the barrel. The boy's head
came in line with the small v of the sight. "For the last time, halt!"

The boy's head turned up. His wet blond hair shone in the sunlight.
Kirk squeezed the trigger.

Simultaneously with the report, the boy's hair sprang upward in
startled protest; his arms gave one reflective jerk, and his face
turned toward the sky.

Slowly, slowly, the white features sank beneath the water.


                                THE END





*** END OF THE PROJECT GUTENBERG EBOOK DEATH OF A MUTANT ***


    

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.