Vital Ingredient
Date: 2009-01-21T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of Vital Ingredient

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: Vital Ingredient

Author: Gerald Vance

Illustrator: Llewellyn

Release date: January 21, 2009 [eBook #27797]

Language: English

Other information and formats: www.gutenberg.org/ebooks/27797

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

*** START OF THE PROJECT GUTENBERG EBOOK VITAL INGREDIENT ***

Pop's lightning brain reacted. He sent in the haymaker.

Frankie was ready for the big test—Ten-Time Winner of the world title. He was young and fit and able; also, he had Milt's cunning brain to direct every feint and punch. This left only one thing in doubt, the——

VITAL INGREDIENT

By GERALD VANCE

"Champ, what's with ya lately?" Benny asked the question as they lay on the beach.

"Nothing," Frankie answered. "Just fight-nite miseries, I guess."

"No it ain't, Frankie. It's something else. You losin' confidence in Milt? That it? Can't you hold it one more time? You guys only need tonite and you got it. One more to make Ten-Time Defenders—the first in the game, Frankie."

"We won the last two on points, Benny. Points—and I'm better than that. I keep waiting, and waiting, for my heels to set; for Milt to send it up my legs and back and let fly. But he won't do it, Benny."

"Look, Champ, Milt knows what he's doing. He's sending you right. You think maybe you know as much as Milt?"

"Maybe I just do, Benny. Maybe I do."

Benny didn't have the answer to this heresy. By law this was Frankie's last fight—as a fighter. If he won this one and became a Ten-Time Defender he would have his pick of the youngsters at the Boxing College, just as Milt had chosen him fifteen years before. For fifteen years he'd never thrown a punch of his own in a fight ring.

Maybe because it was his last fight in the ring he felt the way he did today. He understood, of course, why fighters were mentally controlled by proved veterans. By the time a fighter had any real experience and know-how in the old days, his body was shot. Now the best bodies and the best brains were teamed by mental control.

Benny had an answer now. "Champ, I think it's a good thing this is your last fight. You know too much. After this one you'll have a good strong boy of your own and you can try some of this stuff you've been learning. Milt knows you're no kid anymore. That's why he has to be careful with you."

"I still have it, Benny. My speed, my punch, my timing—all good. There were a dozen times in those last two fights I could have crossed a right and gone home early."

"Two times, Frankie. Just two times. And them late in the fight. Milt didn't think you had it, and I don't think you did either."

Milt, Frankie's master control, came down to the beach and strolled over to join them. Milt had been a Five-Time Defender in the Welter division before his fights ran out. Now he was skinny and sixty. His was the mind that had directed every punch Frankie had ever thrown.

He studied the figure of Frankie lying on the sand. The two-hundred-pound fighting machine was thirty years old. Milt winced when he compared it to that of the twenty-two-year-old slugger they would have to meet in a few hours.

Benny said "Hi," and ambled off.

"Well, boy, this one means a lot to both of us," Milt said.

"Sure," was all Frankie could answer.

"For you, the first Ten-Time Defender the heavyweight division has ever produced. For me, The Hall of Boxing Fame."

"You want that pretty bad, don't you, Milt?"

"Yeah, I guess I do, Frankie, but not bad enough to win it the wrong way."

Frankie's head jerked up. "What do you mean, the wrong way?"

Milt scowled and looked as though he wished he hadn't said that. He turned his head and stared hard at his fighter. "There's something we maybe ought to have talked about, Frankie."

"What's that?"

Milt struggled for words. "It's just—oh, hell! Forget it. Just forget I said anything."

"You figure we win tonight?"

"I think maybe we will."

"You don't seem very sure. On points, huh?"

"Yeah, maybe on points." Milt turned his eyes back on Frankie's eager face. "Frankie, boy—there's something about being a Ten-Time Defender that's, well—different."

Milt took a deep breath and was evidently ready to tell Frankie exactly what he meant. But Frankie broke in, his voice low and tense. "Milt—"

"Yes?"

"When I get in there tonight—turn me loose!"

Milt was startled at the words. "Release control?"

"Yeah—sure. I think I can take Nappy Gordon on my own!"

"Nappy can stick his fist through a brick wall—all night long. And Pop Monroe knows all there is to know and some he makes up himself. They'd be a tough pair to beat. Our big ace is that they have to beat us. We got the Nine-Times."

"I can take him, Milt!"

There was a strange light in Milt's eyes. He did not speak and Frankie went on. "Just one round, Milt! If I slip you can grab control again."

"You just want a try at it, huh?"

There seemed to be disappointment in Milt's voice; something Frankie couldn't understand. Milt seemed suddenly nervous, ill-at-ease. But Frankie was too eager to give it much attention. "How about it, Milt—huh?"

Milt had been squatting on the sand. He got to his feet and looked out across the water. "All right. Maybe we'll try it."

He seemed sad as he walked away. Frankie, occupied with his own elation, didn't notice ...

In the studio dressing room, a few hours later Milt and Frankie were warming up. Frankie in the practice ring and Milt perched on a high chair just outside the ropes.

Everything was just as it would be in the fight. Three minutes work, one minute rest. Frankie noticed how slowly and carefully Milt was working him, and how he watched the clock.

Frankie had nothing to do now but watch, as a spectator would; watch as Milt moved him around. Milt could control every muscle, every move and every reflex of his body. It had taken them five years to perfect this routine. That was the training period at the College of Boxing, and was prescribed by law.

In their first fight they had been at their peak. Frankie was Milt's second boy and Milt knew boxing as only a Champion Welter with thirty years of experience could know it. For fifteen years he had watched and studied while a good veteran had directed his body. And for another fifteen years he had been the guiding brain to a fine Middleweight.

As a Welterweight, Milt had learned to depend on speed and quick hands. In Frankie he had found the dream of every Welter—a punch. Frankie's body could really deliver the power. At first, it had been the heavy hitting that had won the fights; lately, Milt had relied more and more on the speed and deception he had developed in Frankie.

Frankie felt the control ease out and knew the warm-up was over. He slipped on his robe and he and Milt went to join the others in the TV studio.

There would be no crowd. Just the cameras, the crews and officials. The fight would be televised in 3-D and filmed in slow motion. If a decision were needed to determine the winner, it would be given only after a careful study had been made of the films.

There was little to be done in the studio and Milt had timed Frankie's warm-up right to the minute. The fighters and their controllers took their positions: the controllers seated in high chairs on opposite sides of the ring; the fighters in opposite corners.

As the warning buzzer sounded, Frankie felt Milt take control. This one he would watch closely.

At the bell Frankie rose and moved out slowly. He noticed how relaxed, almost limp, Milt was keeping him. There was only a little more effort used than in the pre-fight warm-up. His left hand had extra speed but only enough power to command respect. The pattern was just about as he had expected. As the fight went along the left would add up the points. But his thoughts were centered on a single question. How is it going to be on my own?

In the early rounds he was amazed at the extreme caution Milt was employing. Nappy Gordon's face was beginning to redden from the continual massage of Frankie's brisk left and occasional right. But Frankie felt that his own face must be getting flushed with eagerness. The glory of going in and trying to do it by himself; of beating Pop Monroe without Milt's help. He wondered if Milt would have to clamp on the controls again. He sure hoped not. But there wasn't anything to really worry about. Milt could beat Pop Monroe and he wouldn't let Frankie take a beating by himself.

Frankie's attention was caught by some odd thoughts in Milt's mind. Milt didn't seem to be sending them, yet they were clear and direct: You really think you've got it, boy? That vital ingredient?

What you talking about?

Huh? Me? Oh, nothing. Take it easy. But Milt's thoughts were troubled.

When you going to let me go?

I said, take it easy. We'll see.

The sixth round came and Frankie felt no weariness. Milt was working him like he was made of fragile glass. Nor was Nappy tiring so far as he could notice. Pop Monroe was trying for just one solid blow to slow down the Champ. So far nothing even jarring had come close to landing.

In the seventh Frankie noticed a little desperation in Monroe's tactics. To win now Monroe and Gordon needed a knockout. Frankie had only to stay on his feet to be home safe. But when was Milt going to let him go? Milt had turned in a masterpiece of defensive fighting. The left had deadly accuracy and now the openings were truck-sized as Monroe had come to ignore the light tattoo of the Champ's punches.

Milt withdrew the control in the middle of the seventh round. It hit Frankie like a dash of cold water, the exultation of being on his own! He looked over at Milt, perched rope-high in his control chair at ringside. Milt was looking at him, his face tight and grim; almost hostile.

Frankie circled warily, a touch of panic coming unbidden. What to do? He hadn't known it would be quite like this. He tried to remember how it was—how it felt to move in the various ways Milt always sent him. Funny how you could forget such things. The left hook—that jab—how did they go?

A pile driver came from somewhere and almost tore his head off his shoulders ...

He was looking up at the ceiling. He rolled his eyes and saw Pop Monroe's face—smiling a little, but also puzzled. Even with his brain groggy, Frankie knew why. He'd stepped wide open in Nappy's looping right and Pop couldn't figure Milt doing a thing like that.

Pop looked over at Milt. Frankie followed Pop's eyes and saw the look Milt returned. Then the spark of understanding that passed between them. Odd, Frankie thought. What understanding could there be?

He was aware of the word seven filling the studio as the loud speaker blared the count. He was up at nine.

Nappy swarmed in now. Frankie felt the pain of hard, solid blows on his body as he tried to tie up this dynamo Poppy Monroe was releasing on him. He couldn't stop it, dodge it, or hide from it.

But he finally got away from it—staggering. Nappy came at him fast and the left jab Frankie sent out to put him off balance didn't even slow the fury a bit. Frankie took to the ropes to make Nappy shorten his punches. It helped some, but not enough. No man could take the jolting effect of those ripping punches and keep his feet under him. Frankie didn't—he was down when the bell ended round nine.

In his corner the seconds worked quickly. He looked at Milt and saw a dead-pan expression. Milt wasn't sending him anything. Punishing him of course. Frankie took it meekly; ashamed of himself. Milt would take over again when the bell sounded. Frankie knew that he couldn't stay away from Nappy for another round. Nobody could. Monroe smelled a knockout and Frankie was never fast enough to run away from the burst of viciousness that would come at him in the form of Nappy Gordon. No, Milt would take over.

At the bell, Frankie moved out fast, waiting for the familiar feel of Milt expertly manipulating his arms and legs and body; sending out the jabs and punches; weaving him in and out.

But Milt didn't take over and Pop sent Nappy in with a pile-driver right that smashed Frankie to the floor. Frankie rolled over on his knees and shook his head groggily, trying to understand. Why hadn't Milt taken over? What was Milt trying to do to him?

Milt's cold face waved into focus before Frankie's blinking eyes. What was Milt trying to do? Frankie heard the tolling count—six, seven, eight. Milt wasn't even going to help him up. Sick and bewildered, Frankie struggled to his feet. Nappy came driving in. Frankie back-pedalled and took the vicious right cross while rolling away. Thus he avoided being knocked out and was only floored for another eight-count.

Milt—Milt—for God's sake—

The round was over. Frankie staggered, sick, to his corner and slumped down. The handlers worked over him. He looked at Milt. But Milt neither sent nor returned his gaze. Milt sat looking grimly off into space and seemed older and wearier than time itself.

Then Frankie knew. Milt had sold him out!

The shocking truth stunned him even more than Nappy's punches. Milt had sold him out! There had been rare cases of such things. When money meant more than honor to a veteran. But Milt!

Numbed, Frankie pondered the ghastly thought. After all, Milt was old. Old men needed money for their later years. But how could he? How could he do it?

Suddenly Frankie hated. He hated Nappy and Pop and every one of the millions of people looking silently on around the world. But most of all, he hated Milt. It was a weird, sickening thing, that hatred. But only a mentally sickening thing. Physically, it seemed to make Frankie stronger, because when the bell rang and he got up and walked into a straight right, it didn't hurt at all.

He realized he was on the floor; the gong was sounding; he was getting up, moving in again. There was blood, a ringing in his head.

But above all, a rage to kill. To kill.

He remembered going down several times and getting up. Not caring how he had swung under Milt's control—only wanting to use his fists—to kill the thing weaving in front of him.

Nappy. A grinning, weaving, lethal ghost.

He felt a pain in his right fist and saw Nappy go down. He saw Pop's face go gray as though the old man himself had felt the force of the blow. Saw Nappy climb erect slowly. He grinned through blood. Frankie—ghost-catcher. He had to get him.

He was happy; happy with a new fierceness he had never before known. The lust of battle was strong within him and when Pop weaved Nappy desperately, Frankie laughed, waited, measured Nappy.

And smashed him down with a single jarring right.

The bell tolled ten. Pop got wearily off his stool and walked away. Frankie strode grimly to his corner, ignored Milt, moved on into the dressing room.

He knew Milt would come and he waited for him, sitting there coldly on the edge of the table. Milt walked in the door and stood quietly.

"You sold me out," Frankie said.

There was open pride in Milt's eyes. "Sure—you had to think that."

"What do you mean, think? You didn't pick me up when Pop flattened me. I saw the look between you and Pop."

"Sure." Milt's eyes were still proud. "You had to know. That's how I wanted it."

"Milt—why did you do it?"

"I didn't do it. I just had to make you think I did."

"In God's name—why?"

"Because I'm sentimental, maybe, but I've always had my own ideas about the kind of fighter who should be a Ten-Time winner. All my life I've kept remembering the old greats—Dempsey, Sullivan, Corbett—the men who did it on their own, and I wanted you to get it right—on your own—like a real champion."

Frankie was confused. "I wanted to go on my own. Why didn't you tell me then?"

"Then you'd have lost. You'd have gone down whimpering and moaning. You see, Frankie, all those old fighters had a vital ingredient—the thing it takes to make a champion—courage."

"And you didn't think I had it?"

"Sure I did. But the killer instinct is dead in fighters today and it has to be ignited. It needs a trigger, so that was what I gave you—a trigger."

Frankie understood. "You wanted me to get mad!"

"To do it, you had to get mad—at me. You're not conditioned to get mad at Nappy or Pop. It's not the way we fight now. It had to be me. I had to make you hate me."

Frankie marveled. "So when Pop looked at you—"

"He knew."

Frankie was off the table, his arms around Milt. "I'm—I'm so ashamed."

Milt grinned. "No, you're not. You're happier than you ever were in your life. You're a real champion. Great feeling, isn't it? Now you know how they felt—in the old days."

Frankie was crying. "You are damn right! Thanks."

Milt looked years younger. "Don't mention it—champ."

THE END

Transcriber's Note: This etext was produced from Amazing Stories September 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note. Informal spellings remain as printed.

*** END OF THE PROJECT GUTENBERG EBOOK VITAL INGREDIENT ***

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

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

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg

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

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

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

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

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

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

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

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

Section 5. General Information About Project Gutenberg electronic works

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

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

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

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

Table of Contents

- VITAL INGREDIENT

- THE FULL PROJECT GUTENBERG™ LICENSE