The Project Gutenberg EBook of Keeping Watch, by W.W. Jacobs This eBook is for the use of anyone anywhere 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 Title: Keeping Watch Night Watches, Part 2. Author: W.W. Jacobs Release Date: April 26, 2004 [EBook #12152] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK KEEPING WATCH *** Produced by David Widger NIGHT WATCHES by W.W. Jacobs KEEPING WATCH "Human natur'!" said the night-watchman, gazing fixedly at a pretty girl in a passing waterman's skiff. "Human natur'!" He sighed, and, striking a match, applied it to his pipe and sat smoking thoughtfully. "The young fellow is pretending that his arm is at the back of her by accident," he continued; "and she's pretending not to know that it's there. When he's allowed to put it round 'er waist whenever he wishes, he won't want to do it. She's artful enough to know that, and that's why they are all so stand-offish until the thing is settled. She'll move forward 'arf an inch presently, and 'arf a minute arterwards she'll lean back agin without thinking. She's a nice-looking gal, and what she can see in a tailor's dummy like that, I can't think." He leaned back on his box and, folding his arms, emitted a cloud of smoke. "Human natur's a funny thing. I've seen a lot of it in my time, and if I was to 'ave my life all over agin I expect I should be just as silly as them two in the skiff. I've known the time when I would spend money as free over a gal as I would over myself. I on'y wish I'd got all the money now that I've spent on peppermint lozenges. "That gal in the boat reminds me o' one I used to know a few years ago. Just the same innercent baby look--a look as if butter wouldn't melt in 'er mouth--and a artful disposition that made me sorry for 'er sects. "She used to come up to this wharf once a week in a schooner called the Belle. Her father, Cap'n Butt, was a widow-man, and 'e used to bring her with 'im, partly for company and partly because 'e could keep 'is eye on her. Nasty eye it, was, too, when he 'appened to be out o' temper. "I'd often took a bit o' notice o' the gal; just giving 'er a kind smile now and then as she sat on deck, and sometimes--when 'er father wasn't looking--she'd smile back. Once, when 'e was down below, she laughed right out. She was afraid of 'im, and by and by I noticed that she daren't even get off the ship and walk up and down the wharf without asking 'im. When she went out 'e was with 'er, and, from one or two nasty little snacks I 'appened to overhear when the skipper thought I was too far away, I began to see that something was up. "It all came out one evening, and it only came out because the skipper wanted my help. I was standing leaning on my broom to get my breath back arter a bit o' sweeping, when he came up to me, and I knew at once, by the nice way 'e spoke, that he wanted me to do something for 'im. "'Come and 'ave a pint, Bill,' he ses. "I put my broom agin the wall, and we walked round to the Bull's Head like a couple o' brothers. We 'ad two pints apiece, and then he put his 'and on my shoulder and talked as man to man. "'I'm in a little bit o' difficulty about that gal o' mine,' he ses, passing me his baccy-box. 'Six months ago she dropped a letter out of 'er pocket, and I'm blest if it wasn't from a young man. A young man!' "'You sur-prise me,' I ses, meaning to be sarcastic. "'I surprised her,' he ses, looking very fierce. 'I went to 'er box and I found a pile of 'em-a pile of 'em-tied up with a piece o' pink ribbon. And a photygraph of my lord. And of all the narrer-chested, weak-eyed, slack-baked, spindly-legged sons of a gun you ever saw in your life, he is the worst. If I on'y get my 'ands on him I'll choke 'im with his own feet.' "He washed 'is mouth out with a drop o' beer and stood scowling at the floor. "'Arter I've choked 'im I'll twist his neck,' he ses. 'If he 'ad on'y put his address on 'is letters, I'd go round and do it now. And my daughter, my only daughter, won't tell me where he lives.' "'She ought to know better,' I ses. "He took hold o' my 'and and shook it. 'You've got more sense than one 'ud think to look at you, Bill,' he ses, not thinking wot he was saying. 'You see wot a mess I'm in.' "'Yes,' I ses. "'I'm a nurse, that's wot I am,' he ses, very savage. 'Just a nursemaid. I can't move 'and or foot without that gal. 'Ow'd you like it, yourself, Bill?' "'It must be very orkard for you,' I ses. 'Very orkard indeed.' "'Orkard !' he ses; 'it's no name for it, Bill. I might as well be a Sunday-school teacher, and ha' done with it. I never 'ad such a dull time in all my life. Never. And the worst of it is, it's spiling my temper. And all because o' that narrer-eyed, red-chested--you know wot I mean!' "He took another mouthful o' beer, and then he took 'old of my arm. 'Bill,' he ses, very earnest, 'I want you to do me a favour.' "'Go ahead,' I ses. "'I've got to meet a pal at Charing Cross at ha'-past seven,' he ses; 'and we're going to make a night of it. I've left Winnie in charge o' the cook, and I've told 'im plain that, if she ain't there when I come back, I'll skin 'im alive. Now, I want you to watch 'er, too. Keep the gate locked, and don't let anybody in you don't know. Especially that monkey-faced imitation of a man. Here 'e is. That's his likeness.' "He pulled a photygraph out of 'is coatpocket and 'anded it to me. "'That's 'im,' he ses. 'Fancy a gal getting love-letters from a thing like that! And she was on'y twenty last birthday. Keep your eye on 'er, Bill, and don't let 'er out of your sight. You're worth two o' the cook.' "He finished 'is beer, and, cuddling my arm, stepped back to the wharf. Miss Butt was sitting on the cabin skylight reading a book, and old Joe, the cook, was standing near 'er pretending to swab the decks with a mop. "'I've got to go out for a little while--on business,' ses the skipper. 'I don't s'pose I shall be long, and, while I'm away, Bill and the cook will look arter you.' "Miss Butt wrinkled up 'er shoulders. "'The gate'll be locked, and you're not to leave the wharf. D'ye 'ear?' "The gal wriggled 'er shoulders agin and went on reading, but she gave the cook a look out of 'er innercent baby eyes that nearly made 'im drop the mop. "'Them's my orders,' ses the skipper, swelling his chest and looking round, 'to everybody. You know wot'll 'appen to you, Joe, if things ain't right when I come back. Come along, Bill, and lock the gate arter me. An' mind, for your own sake, don't let anything 'appen to that gal while I'm away.' "'Wot time'll you be back?' I ses, as 'e stepped through the wicket. "'Not afore twelve, and p'r'aps a good bit later,' he ses, smiling all over with 'appiness. 'But young slab-chest don't know I'm out, and Winnie thinks I'm just going out for 'arf an hour, so it'll be all right. So long.' "I watched 'im up the road, and I must say I began to wish I 'adn't taken the job on. Arter all, I 'ad on'y had two pints and a bit o' flattery, and I knew wot 'ud 'appen if anything went wrong. Built like a bull he was, and fond o' using his strength. I locked the wicket careful, and, putting the key in my pocket, began to walk up and down the wharf. "For about ten minutes the gal went on reading and didn't look up once. Then, as I passed, she gave me a nice smile and shook 'er little fist at the cook, wot 'ad got 'is back towards 'er. I smiled back, o' course, and by and by she put her book down and climbed on to the side o' the ship and held out her 'and for me to 'elp her ashore. "'I'm so tired of the ship,' she ses, in a soft voice; 'it's like a prison. Don't you get, tired of the wharf?' "'Sometimes,' I ses; 'but it's my dooty.' "'Yes,' she ses. 'Yes, of course. But you're a big, strong man, and you can put up with things better.' "She gave a little sigh, and we walked up and down for a time without saying anything. "'And it's all father's foolishness,' she ses, at last; 'that's wot makes it so tiresome. I can't help a pack of silly young men writing to me, can I?' "'No, I s'pose not,' I ses. "'Thank you,' she ses, putting 'er little 'and on my arm. 'I knew that you were sensible. I've often watched you when I've been sitting alone on the schooner, longing for somebody to speak to. And I'm a good judge of character. I can read you like a book.' "She turned and looked up at me. Beautiful blue eyes she'd got, with long, curling lashes, and teeth like pearls. "'Father is so silly,' she ses, shaking her 'ead and looking down; 'and it's so unreasonable, because, as a matter of fact, I don't like young men. Oh, I beg your pardon, I didn't mean that. I didn't mean to be rude.' "'Rude?' I ses, staring at her. "'Of course it was a rude thing for me to say,' she ses, smiling; 'because you are still a young man yourself.' "I shook my 'ead. 'Youngish,' I ses. "'Young!' she ses, stamping 'er little foot. "She gave me another look, and this time 'er blue eyes seemed large and solemn. She walked along like one in a dream, and twice she tripped over the planks and would 'ave fallen if I hadn't caught 'er round the waist. "'Thank you,' she ses. 'I'm very clumsy. How strong your arm is!' "We walked up and down agin, and every time we went near the edge of the jetty she 'eld on to my arm for fear of stumbling agin. And there was that silly cook standing about on the schooner on tip-toe and twisting his silly old neck till I wonder it didn't twist off. "'Wot a beautiful evening it is!' she ses, at last, in a low voice. 'I 'ope father isn't coming back early. Do you know wot time he is coming home?' "'About twelve,' I ses; 'but don't tell 'im I told you so.' "'O' course not,' she ses, squeezing my arm. 'Poor father! I hope he is enjoying himself as much as I am.' "We walked down to the jetty agin arter that, and sat side by side looking acrost the river. And she began to talk about Life, and wot a strange thing it was; and 'ow the river would go on flowing down to the sea thousands and thousands o' years arter we was both dead and forgotten. If it hadn't ha' been for her little 'ead leaning agin my shoulder I should have 'ad the creeps. "'Let's go down into the cabin,' she ses, at last, with a little shiver; 'it makes me melancholy sitting here and thinking of the "might-have- beens."' "I got up first and 'elped her up, and, arter both staring hard at the cook, wot didn't seem to know 'is place, we went down into the cabin. It was a comfortable little place, and arter she 'ad poured me out a glass of 'er father's whisky, and filled my pipe for me, I wouldn't ha' changed places with a king. Even when the pipe wouldn't draw I didn't mind. "'May I write a letter?' she ses, at last. "'Sartainly,' I ses. "She got out her pen and ink and paper, and wrote. 'I sha'n't be long,' she ses, looking up and nibbling 'er pen. 'It's a letter to my dressmaker; she promised my dress by six o'clock this afternoon, and I am just writing to tell her that if I don't have it by ten in the morning she can keep it.' "'Quite right,' I ses; 'it's the on'y way to get things done.' "'It's my way,' she ses, sticking the letter in an envelope and licking it down. 'Nice name, isn't it?' "She passed it over to me, and I read the name and address: 'Miss Minnie Miller, 17, John Street, Mile End Road.' "'That'll wake her up,' She ses, smiling. 'Will you ask Joe to take it for me?' "'He--he's on guard,' I ses, smiling back at 'er and shaking my 'ead. "'I know,' she ses, in a low voice. 'But I don't want any guard--only you. I don't like guards that peep down skylights.' "I looked up just in time to see Joe's 'ead disappear. Then I nipped up, and arter I 'ad told 'im part of wot I thought about 'im I gave 'im the letter and told 'im to sheer off. "'The skipper told me to stay 'ere,' he ses, looking obstinate. "'You do as you're told,' I ses. 'I'm in charge, and I take full responsibility. I shall lock the gate arter you. Wot are you worrying about?' "'And here's a shilling, Joe, for a bus fare,' ses the gal, smiling. 'You can keep the change.' "Joe took off 'is cap and scratched 'is silly bald 'ead. "'Come on,' I ses; 'it's a letter to a dressmaker. A letter that must go to-night.' "'Else it's no use,' ses the gal. 'You don't know 'ow important it is.' "'All right,' ses Joe. ''Ave it your own way. So long as you don't tell the skipper I don't mind. If anything 'appens you'll catch it too, Bill.' "He climbed ashore, and I follered 'im to the gate and unlocked it. He was screwing up 'is eye ready for a wink, but I give 'im such a look that he thought better of it, and, arter rubbing his eye with 'is finger as though he 'ad got a bit o' dust in it, he went off. "I locked the gate and went back to the cabin, and for some time we sat talking about fathers and the foolish ideas they got into their 'eads, and things o' that sort. So far as I remember, I 'ad two more goes o' whisky and one o' the skipper's cigars, and I was just thinking wot a beautiful thing it was to be alive and 'ealthy and in good spirits, talking to a nice gal that understood wot you said a'most afore you said it, when I 'eard three blows on a whistle. "'Wot's that?' I ses, starting up. 'Police whistle?' "'I don't think so,' ses Miss Butt, putting her 'and on my shoulder. 'Sit down and stay where you are. I don't want you to get hurt, if it is. Let somebody I don't like go.' "I sat down agin and listened, but there was no more whistling. "'Boy in the street, I expect,' ses the gal, going into the state-room. 'Oh, I've got something to show you. Wait a minute.' "I 'eard her moving about, and then she comes back into the cabin. "'I can't find the key of my box,' she ses, 'and it's in there. I wonder whether you've got a key that would open it. It's a padlock.' "I put my 'and in my pocket and pulled out my keys. 'Shall I come and try?' I ses. "'No, thank you,' she ses, taking the keys. 'This looks about the size. What key is it?' "'It's the key of the gate,' I ses, 'but I don't suppose it'll fit.' "She went back into the state-room agin, and I 'eard her fumbling at a lock. Then she came back into the cabin, breathing rather hard, and stood thinking. "'I've just remembered,' she ses, pinching her chin. 'Yes!' "She stepped to the door and went up the companion-ladder, and the next moment I 'eard a sliding noise and a key turn in a lock. I jumped to the foot of the ladder and, 'ardly able to believe my senses, saw that the hatch was closed. When I found that it was locked too, you might ha' knocked me down with a feather. "I went down to the cabin agin, and, standing on the locker, pushed the skylight up with my 'ead and tried to lookout. I couldn't see the gate, but I 'eard voices and footsteps, and a little while arterwards I see that gal coming along the wharf arm in arm with the young man she 'ad told me she didn't like, and dancing for joy. They climbed on to the schooner, and then they both stooped down with their hands on their knees and looked at me. "'Wot is it?' ses the young man, grinning. "'It's a watchman,' ses the gal. 'It's here to take charge of the wharf, you know, and see that nobody comes on.' "'We ought to ha' brought some buns for it,' ses the young man; 'look at it opening its mouth.' "They both laughed fit to kill themselves, but I didn't move a muscle. "'You open the companion,' I ses, 'or it'll be the worse for you. D'ye hear? Open it !' "'Oh, Alfred,' ses the gal, 'he's losing 'is temper. Wotever shall we do?' "'I don't want no more nonsense,' I ses, trying to fix 'er with my eye. 'If you don't let me out it'll be the worse for you.' "'Don't you talk to my young lady like that,' ses the young man. "'Your young lady?' I ses. 'H'mm! You should ha' seen 'er 'arf an hour ago.' "The gal looked at me steady for a moment. "'He put 'is nasty fat arm round my waist, Alfred,' she ses. "'Wot!' ses the young man, squeaking. 'WOT!' "He snatched up the mop wot that nasty, untidy cook 'ad left leaning agin the side, and afore I 'ad any idea of wot 'e was up to he shoved the beastly thing straight in my face. "'Next time,' he ses, 'I'll tear you limb from limb!' "I couldn't speak for a time, and when I could 'e stopped me with the mop agin. It was like a chained lion being tormented by a monkey. I stepped down on to the cabin floor, and then I told 'em both wot I thought of 'em. "'Come along, Alfred,' ses the gal, 'else the cook'll be back before we start.' "'He's all right,' ses the young man. 'Minnie's looking arter him. When I left he'd got 'arf a bottle of whisky in front of 'im.' "'Still, we may as well go,' ses Miss Butt. 'It seems a shame to keep the cab waiting.' "'All right,' he ses. 'I just want to give this old chump one more lick with the mop and then we'll go.' "He peeped down the skylight and waited, but I kept quite quiet, with my back towards 'im. "'Come along,' ses Miss Butt. "'I'm coming,' he ses. 'Hi! You down there! When the cap'n comes back tell 'im that I'm taking Miss Butt to an aunt o' mine in the country. And tell'im that in a week or two he'll 'ave the largest and nicest piece of wedding-cake he 'as ever 'ad in his life. So long!' "'Good-bye, watchman,' ses the gal. "They moved off without another word--from them, I mean. I heard the wicket slam and then I 'eard a cab drive off over the stones. I couldn't believe it at first. I couldn't believe a gal with such beautiful blue eyes could be so hard-'earted, and for a long time I stood listening and hoping to 'ear the cab come back. Then I stepped up to the companion and tried to shift it with my shoulders. "I went back to the cabin at last, and arter lighting the lamp I 'ad another sup o' the skipper's whisky to clear my 'ead, and sat down to try and think wot tale I was to tell 'im. I sat for pretty near three hours without thinking of one, and then I 'eard the crew come on to the wharf. "They was a bit startled when they saw my 'ead at the skylight, and then they all started at the same time asking me wot I was doing. I told 'em to let me out fust and then I'd tell 'em, and one of 'em 'ad just stepped round to the companion when the skipper come on to the wharf and stepped aboard. He stooped down and peeped at me through the skylight as though he couldn't believe 'is eyesight, and then, arter sending the hands for'ard and telling 'em to stay there, wotever 'appened, he unlocked the companion and came down." End of the Project Gutenberg EBook of Keeping Watch, by W.W. Jacobs *** END OF THIS PROJECT GUTENBERG EBOOK KEEPING WATCH *** ***** This file should be named 12152.txt or 12152.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/1/2/1/5/12152/ Produced by David Widger Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at https://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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 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 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (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-tm 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-tm 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-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm 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 public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email [email protected]. Email contact links and up to date contact information can be found at the Foundation's web site and official page at https://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director [email protected] Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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 https://pglaf.org 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 including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Each eBook is in a subdirectory of the same number as the eBook's eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others. Corrected EDITIONS of our eBooks replace the old file and take over the old filename and etext number. The replaced older file is renamed. VERSIONS based on separate sources are treated as new eBooks receiving new filenames and etext numbers. Most people start at our Web site which has the main PG search facility: https://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, 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. EBooks posted prior to November 2003, with eBook numbers BELOW #10000, are filed in directories based on their release date. If you want to download any of these eBooks directly, rather than using the regular search system you may utilize the following addresses and just download by the etext year. https://www.gutenberg.org/etext06 (Or /etext 05, 04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) EBooks posted since November 2003, with etext numbers OVER #10000, are filed in a different way. The year of a release date is no longer part of the directory path. The path is based on the etext number (which is identical to the filename). The path to the file is made up of single digits corresponding to all but the last digit in the filename. For example an eBook of filename 10234 would be found at: https://www.gutenberg.org/1/0/2/3/10234 or filename 24689 would be found at: https://www.gutenberg.org/2/4/6/8/24689 An alternative method of locating eBooks: https://www.gutenberg.org/GUTINDEX.ALL