The Project Gutenberg eBook of The Circuit Riders, by R. C. FitzPatrick

■ He was an old man and very drunk. Very drunk or very sick. It was the middle of the day and the day was hot, but the old man had on a suit, and a sweater under the suit. He stopped walking and stood still, swaying gently on widespread legs, and tried to focus his eyes. He lived here ... around here ... somewhere around here. He continued on, stumbling up the street.

He finally made it home. He lived on the second floor and he dragged himself up the narrow staircase with both hands clutching the railing. But he was still very careful of the paper bag under his arm. The bag was full of beer.

Once in the room, he managed to take off his coat before he sank down on the bed. He just sat there, vacant and lost and empty, and drank his beer.

It was a hot, muggy, August afternoon—Wednesday in Pittsburgh. The broad rivers put moisture in the air, and the high hills kept it there. Light breezes were broken-up and diverted by the hills before they could bring more than a breath of relief.

In the East Liberty precinct station the doors and windows were opened wide to snare the vagrant breezes. There were eight men in the room; the desk sergeant, two beat cops waiting to go on duty, the audio controller, the deAngelis operator, two reporters, and a local book ... businessman. From the back of the building, the jail proper, the voice of a prisoner asking for a match floated out to the men in the room, and a few minutes later they heard the slow, exasperated steps of the turnkey as he walked over to give his prisoner a light.

At 3:32 pm, the deAngelis board came alive as half-a-dozen lights flashed red, and the needles on the dials below them trembled in the seventies and eighties. Every other light on the board showed varying shades of pink, registering in the sixties. The operator glanced at the board, started to note the times and intensities of two of the dials in his log, scratched them out, then went on with his conversation with the audio controller. The younger reporter got up and came over to the board. The controller and the operator looked up at him.

"Nothing," said the operator shaking his head in a negative. "Bad call at the ball game, probably." He nodded his head towards the lights on the deAngelis, "They'll be gone in five, ten minutes."

The controller reached over and turned up the volume on his radio. The radio should not have been there, but as long as everyone did his job and kept the volume low, the Captain looked the other way. The set belonged to the precinct.

The announcer's voice came on, "... ning up, he's fuming. Doak is holding Sterrett back. What a beef! Brutaugh's got his nose not two inches from Frascoli's face, and Brother! is he letting him have it. Oh! Oh! Here comes Gilbert off the mound; he's stalking over. When Gil puts up a holler, you know he thinks it's a good one. Brutaugh keeps pointing at the foul line—you can see from here the chalk's been wiped away—he's insisting the runner slid out of the base path. Frascoli's walking away, but Danny's going right aft ..." The controller turned the volume down again.

The lights on the deAngelis board kept flickering, but by 3:37 all but two had gone out, one by one. These two showed readings in the high sixties; one flared briefly to 78.2 then went out. Brutaugh was no longer in the ball game. By 3:41 only one light still glowed, and it was steadily fading.

Throughout the long, hot, humid afternoon the board held its reddish, irritated overtones, and occasional readings flashed in and out of the seventies. At four o'clock the new duty section came on; the deAngelis operator, whose name was Chuck Matesic, was replaced by an operator named Charlie Blaney.

"Nothing to report," Chuck told Charlie. "Rhubarb down at the point at the Forbes Municipal Field, but that's about all."

The new operator scarcely glanced at the mottled board, it was that kind of a day. He noted an occasional high in his log book, but most signals were ignored. At 5:14 he noted a severe reading of 87 which stayed on the board; at 5:16 another light came on, climbed slowly through the sixties, then soared to 77 where it held steady. Neither light was an honest red, their angry overtones chased each other rapidly.

The deAngelis operator called over to the audio controller, "Got us a case of crinkle fender, I think."

"Can't tell yet," Blaney said. "A hot-head and a citizen with righteous indignation. They're clear enough, but not too sharp." He swiveled in his chair and adjusted knobs before a large circular screen. Pale streaks of light glowed briefly as the sweep passed over them. There were milky dots everywhere. A soft light in the lower left hand corner of the screen cut an uncertain path across the grid, and two indeterminate splotches in the upper half of the scope flared out to the margin.

The splashes of light separated; one moved quickly off the screen, the other held stationary for several minutes, then contracted and began a steady, jagged advance toward the center of the grid. One inch down, half an inch over, two inches down, then four inches on a diagonal line.

Eight minutes later, at 5:32, a slightly pompous and thoroughly outraged young salesman marched through the doors of the station house and over to the desk sergeant.

"With his car," said the salesman. "My car ... with his car ... he hit my car with his car."

The sergeant raised his hand. "Simmer down, young feller. Let me see your driver's license." He reached over the desk for the man's cards with one hand, and with the other he sorted out an accident form. "Just give it to me slowly." He started filling out the form.

The deAngelis operator leaned back in his chair and winked at the controller. "I'm a whiz," he said to the young reporter, "I'm a pheenom. I never miss." The reporter smiled and walked back to his colleague who was playing gin with the book ... businessman.

The lights glowed on and off all evening, but only once had they called for action. At 10:34 two sharp readings of 92.2 and 94 even, had sent Blaney back to his dials and screen. He'd narrowed it down to a four-block area when the telephone rang to report a fight at the Red Antler Grill. The controller dispatched a beat cop already in the area.

Twenty minutes later, two very large—and very obedient young toughs stumbled in, followed by an angry officer. In addition to the marks of the fight, both had a lumbering, off-balance walk that showed that the policeman had been prodding them with his riot club. It was called an "electronic persuader"; it also doubled as a carbine. Police no longer carried sidearms.

He pointed to the one on the left, "This one hit me." He pointed to the one on the right, "This one kicked me."

The one on the left was certain he would never hit another cop. The one on the right knew he would never kick another cop.

"Book 'em," the sergeant said. He looked at the two youths. "You're going in the can ... you want to argue." The youths looked down. No one else said anything. The younger reporter came over and took down the information as the cop and the two toughs gave it to the sergeant. Then he went back to his seat at the card table and took a minityper from his pocket. He started sending to the paper.

"Bat crap," said the older man, "that little jewel can transcribe chicken scratches."

The cub scrunched over his minityper. A few minutes later he looked up at his partner, "What's a good word for hoodlum?"

The other reporter was irritated. He was also losing at gin. "What are you, a Steinbeck?" He laid down his cards. "Look kid, just send it, just the way you get it. That's why they pay re-write men. We're reporters. We report. O.K.?" He went back to his cards.

At 11:40 a light at the end of the second row turned pinkish but no reading showed on the dial below. It was only one of a dozen bulbs showing red. It was still pinkish when the watch was changed. Blaney was replaced by King.

"Watch this one," Blaney said to King, indicating an entry in the log. It was numbered 8:20:18:3059:78:4a. "I've had it on four times now, all in the high seventies. I got a feeling." The number indicated date, estimated area and relation to previous alerts in the month, estimated intent, and frequency of report. The "a" meant intermittent. Only the last three digits would change. "If it comes on again I think I'd lock a circuit on it right away." The rules called for any continuous reading over 75 to be contacted and connected after its sixth appearance.

"What about that one?" King said, pointing to a 70.4 that was unblinking in its intensity.

"Some drunk," said Blaney. "Or a baby with a head cold. Been on there for twenty minutes. You can watch for it if you like." His tone suggested that to be a waste of time.

"I'll watch it," said King. His tone suggested that he knew how to read a circuit, and if Blaney had any suggestions he could keep them to himself.

Joe Millsop finally staggered home, exhausted. He was half-drunk, and worn out from being on his feet all day, but the liquor had finally done its work. He could think about the incident without flushing hot all over. He was too tired, and too sorry for himself to be angry at anyone. And with his new-found alcoholic objectivity he could see now where he had been in the wrong. Old Bloomgarten shouldn't have chewed him out in front of a customer like that, but what the hell, he shouldn't have sassed the customer, even if she was just a dumb broad who didn't know what she wanted. He managed to get undressed before he stumbled into bed. His last coherent thought before he fell into a drugged sleep was that he'd better apologize in the morning.

At 1:18 am, the deAngelis flared to a 98.4 then started inching down again. The young reporter sat up, alert, from where he had been dozing. The loud clang of a bell had brought him awake.

The older reporter glanced up from his cards and waved him down. "Forget it," he said, "some wife just opened the door and saw lipstick on her husband's neck."

"Don't, Mother ... I thought I could make some money ... some real money." The youngster looked sick. "I had four nines ... four nines ... how could I figure him for a straight flush, he didn't have a thing showing."

The book ... businessman dealt the cards. The reporter picked his up and arranged them in his hand, he discarded one; the businessman ignored it and drew from the deck, he discarded; the reporter picked the discard and threw away a card from his hand; the businessman drew from the deck and discarded the same card he'd drawn; the reporter picked it up, tapped it slowly in place with his elbow, placed his discard face down, and spread his hand.

"You only say that 'cause it's true," the reporter said. "But it's sweet of you all the same."

The reporter looked up, concerned. "You stuck?" he asked solicitously. He seemed sincere.

"Then stay stuck," said the reporter in a kindly tone. He patted the businessman on the cheek.

The same light on the deAngelis flashed red. This time the dial registered eighty-two. The operator chuckled and looked over at the gamblers, where the reporter was still adding up the score.

The deAngelis went back to normal, and the operator went back to his magazine. The bulb at the end of the second row turned from a light pink to a soft rose, the needle on its dial finally flickered on to the scale. There were other lights on the board, but none called for action. It was still just a quiet night in the middle of the week.

The room was filthy. It had a natural filth that clings to a cheap room, and a man-made, careless filth that would disfigure a Taj Mahal. It wasn't so much that things were dirty, it was more that nothing was clean. Pittsburgh was no longer a smokey city. That problem had been solved long before the mills had stopped belching smoke. Now, with atomics and filters on every stack in every home, the city was clean. Clean as the works of man could make it, yet still filthy as only the minds of man could achieve. The city might be clean but there were people who were not, and the room was not. Overhead the ceiling light still burned, casting its harsh glare on the trashy room, and the trashy, huddled figure on the bed.

He was an old man, lying on the bed fully clothed, even to his shoes. He twisted fretfully in his sleep; the body tried to rise, anticipating nature even when the mind could not. The man gagged several times and finally made it up to a sitting position before the vomit came. He was still asleep, but his reaction was automatic; he grabbed the bottom of his sweater and pulled it out before him to form a bucket of sorts. When he finished being sick he sat still, swaying gently back and forth, and tried to open his eyes. He could not make it. Still asleep, he ducked out of the fouled sweater, made an ineffectual dab at his mouth, wadded the sweater in a ball, and threw it over in front of the bathroom door.

At 4:15 in the morning a man walked into the station house. His name was Henry Tilton. He was a reporter for the Evening Press . He waved a greeting to the desk sergeant and went over to kibitz the card game.

Both players looked up, startled. The reporter playing cards said, "Hello, Henry." He looked at his watch. "Whoosh! I didn't realize it was that late." He turned to the businessman. "Hurry up, finish the hand. Got to get my beauty sleep."

"Get it back from Hank here," the reporter said. He nodded at the newcomer, "Want this hand? You're fourteen points down. Lover boy's got sixty-eight on game, but you're a box up."

The morning news reporters left. The businessman dealt a new hand. Tilton waited four rounds, then knocked with ten.

Bernie slammed down his cards. "You lousy reporters are all alike! I'm going home." He got up to put on his coat. "I'll be back about ten, you still be here?"

"Sure," said Tilton, "... with the score." He folded the paper and put it in his pocket.

The businessman walked out and Tilton went over to the deAngelis board. "Anything?" he asked.

"Nah," said King. He pointed to the lights, "Just lovers' quarrels tonight; all pale pink and peaceful."

Tilton smiled and ambled back to the cell block. The operator put his feet up on his desk, then frowned and put them down again. He leaned toward the board and studied the light at the end of the second row. The needle registered sixty-six. The operator pursed his lips, then flicked a switch that opened the photo file. Every five minutes an automatic camera photographed the deAngelis board, developed the film, and filed the picture away in its storage vault.

King studied the photographs for quite awhile, then pulled his log book over and made an entry. He wrote: 8:20:19:3142:1x. The last three digits meant that he wasn't sure about the intensity, and the "x" signified a continuous reading.

King turned to the audio controller, "Do me a favor, Gus, but strictly unofficial. Contact everybody around us: Oakland, Squirrel Hill, Point Breeze, Lawrenceville, Bloomfield ... everybody in this end of town. Find out if they've got one low intensity reading that's been on for hours. If they haven't had it since before midnight, I'm not interested."

"Probably not," said the operator. "I'd just like to pin this one down as close as I can. On a night like this my screen shows nothing but milk."

"Thanks," said the cub shaking his head, "but I live out by the Youghiogheny River."

"Not that exactly," said the cub. "I understand a deAngelis board; everybody broadcasts emotions, and if they're strong enough they can be received and interpreted. It's the cops I don't understand. I thought any reading over eighty was dangerous and had to be looked into, and anything over ninety was plain murder and had to be picked up. Here they been ignoring eighties and nineties all night long."

"You remember that children's story you wrote last Christmas about an Irish imp named Sean O'Claus?" his companion asked him.

"You remember the Fashion Editor killed it because she thought 'See-Ann' was a girl's name, and it might be sacrilegious."

"Like to bet you didn't register over ninety that day? As a matter of fact, I'll head for the nearest precinct and bet you five you're over eighty right now." He laughed aloud and the young man calmed down. "I had that same idea myself at first. About ninety being against the law. That's one of the main troubles, the law. Every damn state in the dominion has its own ideas on what's dangerous. The laws are all fouled up. But what most of them boil down to is this—a man has to have a continuous reading of over ninety before he can be arrested. Not arrested really, detained. Just a reading on the board doesn't prove a thing. Some people walk around boiling at ninety all their lives—like editors. But the sweet old lady down the block, who's never sworn in her life, she may hit sixty-five and reach for a knife. And that doesn't prove a thing. Ninety sometimes means murder, but usually not; up to a hundred and ten usually means murder, but sometimes not; and anything over one-twenty always means murder. And it still doesn't prove a thing. And then again, a psychotic or a professional gunsel may not register at all. They kill for fun, or for business—they're not angry at anybody."

"It's all up to the deAngelis operators. They're the kingpins, they make the system work. Not Simon deAngelis who invented it, or the technicians who install it, or the Police Commissioner who takes the results to City Hall. The operators make it or break it. Sure, they have rules to follow—if they want. But a good operator ignores the rules, and a bad operator goes by the book, and he's still no damn good. It's just like radar was sixty, seventy years ago. Some got the knack, some don't."

"Certainly it does," the older man said. "Nothing's perfect. It gives the police the jump on a lot of crime. Premeditated murder for one. The average citizen can't kill anyone unless he's mad enough, and if he's mad enough, he registers on the deAngelis. And ordinary robbers get caught; their plans don't go just right, or they fight among themselves. Or, if they just don't like society—a good deAngelis operator can tell quite a bit if he gets a reading at the wrong time of day or night, or in the wrong part of town."

"But what about the sweet old lady who registers sixty-five and then goes berserk?"

"That's where your operator really comes in. Usually that kind of a reading comes too late. Grandma's swinging the knife at the same time the light goes on in the station house. But if she waits to swing, or builds herself up to it, then she may be stopped.

"You know those poor operators are supposed to log any reading over sixty, and report downtown with anything over eighty. Sure they are! If they logged everything over sixty they'd have writer's cramp the first hour they were on watch. And believe me, Sonny, any operator who reported downtown on every reading over eighty would be back pounding a beat before the end of his first day. They just do the best they can, and you'd be surprised at how good that can be."

The old man woke up, but kept his eyes closed. He was afraid. It was too quiet, and the room was clammy with an early morning chill. He opened his eyelids a crack and looked at the window. Still dark outside. He lay there trembling and brought his elbows in tight to his body. He was going to have the shakes; he knew he'd have the shakes and it was still too early. Too early. He looked at the clock. It was only a quarter after five. Too early for the bars to be open. He covered his eyes with his hands and tried to think.

It was no use; he couldn't think. He sobbed. He was afraid to move. He knew he had to have a drink, and he knew if he got up he'd be sick. "Oh Lord!" he breathed.

The trembling became worse. He tried to press it away by hugging his body with his arms. It didn't help. He looked wildly around and tried to concentrate. He thought about the bureau ... no. The dresser ... no. His clothes ... he felt feverishly about his body ... no. Under the bed ... no ... wait ... maybe. He'd brought some beer home. Now he remembered. Maybe there was some left.

He rolled over on his stomach and groped under the bed. His tremulous fingers found the paper bag and he dragged it out. It was full of empty cans; the carton inside was ripped. He tore the sack open ... empty cans ... no! there was a full one ... two full ones—

He staggered to his feet and looked for an opener. There was one on the bureau. He stumbled over and opened his first beautiful, lovely can of beer. He put his mouth down close to the top so that none of the foam could escape him. He'd be all right 'til seven, now. The bars opened at seven. He'd be all right 'til seven.

He did not notice the knife lying beside the opener. He did not own a knife and had no recollection of buying one.

The light at the end of the second row was growing gradually brighter. The needle traveled slowly across the dial, 68.2, 68.4, 68.6....

The controller nodded. "Squirrel Hill's got your signal on, same reading as you have. Bloomfield thinks they may have it. Oakland's not too sure. Everybody else is negative." The controller walked over. "Which one is it?"

"Hell, yes, I've got him on my screen!" King swiveled in his chair and turned on the set. The scope was covered with pale dots. "Which one is he? There?" He pointed to the left. "That's a guy who didn't get the raise he wanted. There?" He pointed to the center. "That's a little girl with bad dreams. She has them every night. There? That's my brother! He's in the Veteran's Hospital and wanted to come home a week ago."

"I'm sorry, Gus," King apologized. "My fault. I'm a little edgy ... probably nothing at all."

"Well you got it narrowed down anyway," Gus said. "If you got it, and Squirrel Hill's got it, then he's in Shadyside. If Oakland doesn't have him, then he's on this side of Aiken Avenue." The controller had caught King's fever; the "it" had become a "him". "And if Bloomfield doesn't have him, then he's on the other side of Baum Boulevard."

"Well what the hell, you've still got him located in the lower half of Shadyside. Tell you what, I'll send a man up Ellsworth, get Bloomfield to cruise Baum Boulevard in a scout car, and have Squirrel Hill put a patrol on Wilkens. We can triangulate."

"No," said King, "not yet. Thanks anyway, Gus, but there's no point in stirring up a tempest in a teapot. Just tell them to watch it. If it climbs over 75 we can narrow it down then."

The old man finished his second can of beer. The trembling was almost gone. He could stand and move without breaking out in a cold sweat. He ran his hand through his hair and looked at the clock. 6:15. Too early. He looked around the room for something to read. There were magazines and newspapers scattered everywhere; the papers all folded back to the sports section. He picked up a paper, not even bothering about the date, and tried to interest himself in the batting averages of the Intercontinental League. Yamamura was on top with .387; the old man remembered when Yamamura came up as a rookie. But right now he didn't care; the page trembled and the type kept blurring. He threw the paper down. He had a headache.

The old man got up and went over to the bathroom. He steadied himself against the door jamb and kicked the wadded sweater out of sight beneath the dresser. He went into the bathroom and turned on the water. He ran his hands over his face and thought about shaving, but he couldn't face the work involved. He managed to run a comb through his hair and rinse out his mouth.

He came back into the room. It was 6:30. Maybe Freddie's was open. If Freddie wasn't, then maybe the Grill. He'd have to take his chances, he couldn't stand it here any longer. He put on his coat and stumbled out.

"Just this one, Chuck," said King. "I may be a fool, but this one bothers me." King was a diplomat where Blaney was not.

King showed him the entry. The dial now stood at 72.8. "It's been on there all night, since before I had the watch. And it's been climbing, just slow and steady, but all the time climbing. I locked a circuit on him, but I'll take it off if you want me to."

The old man was feeling better. He'd been in the bar two hours, and he'd had two pickled eggs, and the bartender didn't bother him. Beer was all right, but a man needed whiskey when he was sick. He'd have one, maybe two more, and then he'd eat some breakfast. He didn't know why, but he knew he mustn't get drunk.

At nine o'clock the needle on the dial climbed past seventy-five. Matesic asked for coverage. That meant that two patrolmen would be tied up, doing nothing but searching for an echo. And it might be a wild goose chase. He was explaining to the Captain, but the Captain wasn't listening. He was looking at the photographs in the deAngelis file.

"King thinks the same way I do, he's been on there too damn long and too damn consistent."

"Pick him up," the Captain turned and ordered the audio controller. "If we can't hold him, we can at least get a look at him."

"I know what it'll take," the Captain roared. "Don't tell me my job! Put every available man on this, I want that guy brought in."

The old man walked back to his room. He was carrying a dozen cans of beer, but the load was light and he walked upright. He felt fine, like a million dollars. And he was beginning to remember.

When he entered the room he saw the knife and when he saw the knife he smiled. A man had to be smart and a man had to be prepared. They were smart ... wicked and smart ... but he was smarter. He'd bought the knife a long, long time ago, in a different world—they couldn't fool him that way. They were clever all right, they fooled the whole world.

He put his beer on the bureau, then walked into the bathroom and turned on the water in the tub. He came back out and started to undress. He was humming to himself. When he finished undressing he went over to the bureau and opened a can of beer. He carried it into the bathroom, put it beside the tub, and lowered himself into the water.

Ah ... that was the ticket. Water and being clean. Clean and being water. Being water and being candy and being smart. They fooled the whole world, but not him. The whole, wide world, but they couldn't fool him. He was going to fool them. All pretty and innocent. Hah! Innocent! He knew. They were rotten, they were rotten all the way through. They fooled the whole world but they were rotten ... rotten ... and he was the only one who knew.

He finished the beer and stood up in the tub. The water ran off his body in greasy runlets. He didn't pull the plug. He stepped out of the tub and over to the bathroom mirror. His face looked fine, not puffy at all. He'd fool them. He sprinkled himself with lilac water, put the bottle to his lips, and swished some of it in his mouth. Oh yes, he'd fool them. A man couldn't be too clever, they were clever, so he had to be clever. He began to shave.

The Captain was on an audio circuit, talking to an Assistant Commissioner. "Yes, Sir, I know that—Yes, Sir, it could be, but it might be something else—Yes, Sir, I know Squirrel Hill has problems, but we need help—Yes, Commissioner, it's over ninety now (The Captain signaled wildly to Matesic; Matesic held up four fingers, then two) 94.2 and still going up—No, Sir, we don't know. Some guy gonna quit his job ... or kill his boss. Maybe he found out his wife is cheating on him. We can't tell until we pick him up—Yes, Sir—Yes, Sir—Thank you, Sir."

The old man finished dressing. He knotted his tie and brushed off the front of his suit with his hand. He looked fine. He'd fool them, he looked just like anybody else. He crossed to the bureau and picked up the knife. It was still in the scabbard. He didn't take it out, he just put it in his pocket. Good. It didn't show.

He walked out on the street. The sun was shining brightly and heat waves were coming up from the sidewalk. Good. Good. This was the best time. People, the real people, would be working or lying down asleep. But they'd be out. They were always out. Out all sweet and innocent in the hot sun.

He turned down the street and ambled toward the drug store. He didn't want to hurry. He had lots of time. He had to get some candy first. That was the ticket, candy. Candy worked, candy always worked. Candy was good but candy was wicked. He was good but they were wicked. Oh, you had to be smart.

"That has to be him," Matesic said. The screen was blotched and milky, but a large splash of light in the lower left hand corner outshone everything else. "He's somewhere around Negley Avenue." He turned to the Captain. "Where do you have your men placed?"

"In a box," the Captain said. "Fifth and Negley, Aiken and Negley, Center and Aiken, and Center and Negley. And three scout cars overhead."

The old man walked up Ellsworth to the Liberty School. There were always lots of young ones around Liberty School. The young ones were the worst.

She was a friendly little thing, and pretty. Maybe five, maybe six, and her Mommy had told her not to talk to strangers. But the funny old man wasn't talking, he was sitting on the curb, and he was eating candy, and he was offering some to her. He smiled at the little girl and she smiled back.

The scout car settled to earth on automatic. Two officers climbed out of the car and walked quietly over to the old man, one on either side. They each took an arm and lifted him gently to his feet.

The old man looked around bewildered. He dropped his candy and tried to reach his knife. They mustn't interfere. It was no use. The officers were very kind and gentle, and they were very, very firm. They led him off as though he were an old, old friend.

She looked at the paper sack on the sidewalk. She didn't know what to do, but the nice old man was gone. She looked around, but no one was paying any attention, they were all watching the softball game. Suddenly she made a grab and clutched the paper bag to her body. Then she turned and ran back up the street to tell her Mommy how wonderful, wonderful lucky she was. ■

*** END OF THE PROJECT GUTENBERG EBOOK THE CIRCUIT RIDERS ***

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

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

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

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

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

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

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

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

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

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

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

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

Section 5. General Information About Project Gutenberg™ electronic works

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

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

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

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

The Project Gutenberg eBook of The Circuit Riders

THE CIRCUIT RIDERS

by R. C. FitzPatrick

THE FULL PROJECT GUTENBERG LICENSE

THE
CIRCUIT
RIDERS