The Project Gutenberg EBook of Stepping Backwards, 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: Stepping Backwards Night Watches, Part 5. Author: W.W. Jacobs Release Date: April 26, 2004 [EBook #12155] Language: English Character set encoding: US-ASCII *** START OF THIS PROJECT GUTENBERG EBOOK STEPPING BACKWARDS *** Produced by David Widger NIGHT WATCHES by W.W. Jacobs STEPPING BACKWARDS "Wonderful improvement," said Mr. Jack Mills. "Show 'em to me again." Mr. Simpson took his pipe from his mouth and, parting his lips, revealed his new teeth. "And you talk better," said Mr. Mills, taking his glass from the counter and emptying it; "you ain't got that silly lisp you used to have. What does your missis think of 'em?" "She hasn't seen 'em yet," said the other. "I had 'em put in at dinner- time. I ate my dinner with 'em." Mr. Mills expressed his admiration. "If it wasn't for your white hair and whiskers you'd look thirty again," he said, slowly. "How old are you?" "Fifty-three," said his friend. "If it wasn't for being laughed at I've often thought of having my whiskers shaved off and my hair dyed black. People think I'm sixty." "Or seventy," continued Mr. Mills. "What does it matter, people laughing? You've got a splendid head of 'air, and it would dye beautiful." Mr. Simpson shook his head and, ordering a couple of glasses of bitter, attacked his in silence. "It might be done gradual," he said, after a long interval. "It don't do anybody good at the warehouse to look old." "Make a clean job of it," counselled Mr. Mills, who was very fond of a little cheap excitement. "Get it over and done with. You've got good features, and you'd look splendid clean-shaved." Mr. Simpson smiled faintly. "Only on Wednesday the barmaid here was asking after you," pursued Mr. Mills. Mr. Simpson smiled again. "She says to me, 'Where's Gran'pa?' she says, and when I says, haughty like, 'Who do you mean?' she says, 'Father Christmas!' If you was to tell her that you are only fifty-three, she'd laugh in your face." "Let her laugh," said the other, sourly. "Come out and get it off," said Mr. Mills, earnestly. "There's a barber's in Bird Street; you could go in the little back room, where he charges a penny more, and get it done without anybody being a bit the wiser." He put his hand on Mr. Simpson's shoulder, and that gentleman, with a glare in the direction of the fair but unconscious offender, rose in a hypnotized fashion and followed him out. Twice on the way to Bird Street Mr. Simpson paused and said he had altered his mind, and twice did the propulsion of Mr. Mills's right hand, and his flattering argument, make him alter it again. It was a matter of relief to Mr. Simpson that the barber took his instructions without any show of surprise. It appeared, indeed, that an elderly man of seventy-eight had enlisted his services for a similar purpose not two months before, and had got married six weeks afterwards. Age of the bride given as twenty-four, but said to have looked older. A snip of the scissors, and six inches of white beard fell to the floor. For the first time in thirty years Mr. Simpson felt a razor on his face. Then his hair was cut and shampooed; and an hour later he sat gazing at a dark-haired, clean-shaven man in the glass who gazed back at him with wondering eyes--a lean-jawed, good-looking man, who, in a favourable light, might pass for forty. He turned and met the admiring eyes of Mr. Mills. "What did I tell you?" inquired the latter. "You look young enough to be your own son." "Or grandson," said the barber, with professional pride. Mr. Simpson got up slowly from the chair and, accompanied by the admiring Mr. Mills, passed out into the street. The evening was young, and, at his friend's suggestion, they returned to the Plume of Feathers. "You give the order," said Mr. Mills, "and see whether she recognizes you." Mr. Simpson obeyed. "Don't you know him?" inquired Mr. Mills, as the barmaid turned away. "I don't think I have that pleasure," said the girl, simpering. "Gran'pa's eldest boy," said Mr. Mills. "Oh!" said the girl. "Well, I hope he's a better man than his father, then?" "What do you mean by that?" demanded Mr. Simpson, painfully conscious of his friend's regards. "Nothing," said the girl, "nothing. Only we can all be better, can't we? He's a nice old gentleman; so simple." "Don't know you from Adam," said Mr. Mills, as she turned away. "Now, if you ask me, I don't believe as your own missis will recognize you." "Rubbish," said Mr. Simpson. "My wife would know me anywhere. We've been married over thirty years. Thirty years of sunshine and shadow together. You're a single man, and don't understand these things." "P'r'aps you're right," said his friend. "But it'll be a bit of a shock to her, anyway. What do you say to me stepping round and breaking the news to her? It's a bit sudden, you know. She's expecting a white- haired old gentleman, not a black-haired boy." Mr. Simpson looked a bit uneasy. "P'r'aps I ought to have told her first," he murmured, craning his neck to look in the glass at the back of the bar. "I'll go and put it right for you," said his friend. "You stay here and smoke your pipe." He stepped out briskly, but his pace slackened as he drew near the house. "I--I--came--to see you about your husband," he faltered, as Mrs. Simpson opened the door and stood regarding him. "What's the matter?" she exclaimed, with a faint cry. "What's happened to him?" "Nothing," said Mr. Mills, hastily. "Nothing serious, that is. I just came round to warn you so that you will be able to know it's him." Mrs. Simpson let off a shriek that set his ears tingling. Then, steadying herself by the wall, she tottered into the front room, followed by the discomfited Mr. Mills, and sank into a chair. "He's dead!" she sobbed. "He's dead!" "He is not," said Mr. Mills. "Is he much hurt? Is he dying?" gasped Mrs. Simpson. "Only his hair," said Mr. Mills, clutching at the opening. "He is not hurt at all." Mrs. Simpson dabbed at her eyes-and sat regarding him in bewilderment. Her twin chins were still quivering with emotion, but her eyes were beginning to harden. "What are you talking about?" she inquired, in a raspy voice. "He's been to a hairdresser's," said Mr. Mills. "He's 'ad all his white whiskers cut off, and his hair cut short and dyed black. And, what with that and his new teeth, I thought--he thought--p'r'aps you mightn't know him when he came home." "Dyed?" cried Mrs. Simpson, starting to her feet. Mr. Mills nodded. "He looks twenty years younger," he said, with a smile. "He'd pass for his own son anywhere." Mrs. Simpson's eyes snapped. "Perhaps he'd pass for my son," she remarked. "Yes, easy," said the tactful Mr. Mills. "You can't think what a difference it's made to him. That's why I came to see you--so you shouldn't be startled." "Thank you," said Mrs. Simpson. "I'm much obliged. But you might have spared yourself the trouble. I should know my husband anywhere." "Ah, that's what you think," retorted Mr. Mills, with a smile; "but the barmaid at the Plume didn't. That's what made me come to you." Mrs. Simpson gazed at him. "I says to myself," continued Mr. Mills, "'If she don't know him, I'm certain his missis won't, and I'd better----'" "You'd better go," interrupted his hostess. Mr. Mills started, and then, with much dignity, stalked after her to the door. "As to your story, I don't believe a word of it," said Mrs. Simpson. "Whatever else my husband is, he isn't a fool, and he'd no more think of cutting off his whiskers and dyeing his hair than you would of telling the truth." "Seeing is believing," said the offended Mr. Mills, darkly. "I'll wait till I do see, and then I sha'n't believe," was the reply. "It is a put-up job between you and some other precious idiot, I expect. But you can't deceive me. If your black-haired friend comes here, he'll get it, I can tell you." She slammed the door on his protests and, returning to the parlour, gazed fiercely into the glass on the mantelpiece. It reflected sixteen stone of honest English womanhood, a thin wisp of yellowish-grey hair, and a pair of faded eyes peering through clumsy spectacles. "Son, indeed!" she said, her lips quivering. "You wait till you come home, my lord!" Mr. Simpson, with some forebodings, returned home an hour later. To a man who loved peace and quietness the report of the indignant Mr. Mills was not of a reassuring nature. He hesitated on the doorstep for a few seconds while he fumbled for his key, and then, humming unconcernedly, hung his hat in the passage and walked into the parlour. The astonished scream of his wife warned him that Mr. Mills had by no means exaggerated. She rose from her seat and, crouching by the fireplace, regarded him with a mixture of anger and dismay. "It--it's all right, Milly," said Mr. Simpson, with a smile that revealed a dazzling set of teeth. "Who are you?" demanded Mrs. Simpson. "How dare you call me by my Christian name. It's a good job for you my husband is not here." "He wouldn't hurt me," said Mr. Simpson, with an attempt at facetiousness. "He's the best friend I ever had. Why, we slept in the same cradle." "I don't want any of your nonsense," said Mrs. Simpson. "You get out of my house before I send for the police. How dare you come into a respectable woman's house in this fashion? Be off with you." "Now, look here, Milly----" began Mr. Simpson. His wife drew herself up to her full height of four feet eleven. "I've had a hair-cut and a shave," pursued her husband; "also I've had my hair restored to its natural colour. But I'm the same man, and you know it." "I know nothing of the kind," said his wife, doggedly. "I don't know you from Adam. I've never seen you before, and I don't want to see you again. You go away." "I'm your husband, and my place is at home," replied Mr. Simpson. "A man can have a shave if he likes, can't he? Where's my supper?" "Go on," said his wife. "Keep it up. But be careful my husband don't come in and catch you, that's all." Mr. Simpson gazed at her fixedly, and then, with an impatient exclamation, walked into the small kitchen and began to set the supper. A joint of cold beef, a jar of pickles, bread, butter, and cheese made an appetizing display. Then he took a jug from the dresser and descended to the cellar. A musical trickling fell on the ear of Mrs. Simpson as she stood at the parlour door, and drew her stealthily to the cellar. The key was in the lock, and, with a sudden movement, she closed the door and locked it. A sharp cry from Mr. Simpson testified to his discomfiture. "Now I'm off for the police," cried his wife. "Don't be a fool," shouted Mr. Simpson, tugging wildly at the door- handle. "Open the door." Mrs. Simpson remained silent, and her husband resumed his efforts until the door-knob, unused to such treatment, came off in his hand. A sudden scrambling noise on the cellar stairs satisfied the listener that he had not pulled it off intentionally. She stood for a few moments, considering. It was a stout door and opened inwards. She took her bonnet from its nail in the kitchen and, walking softly to the street-door, set off to lay the case before a brother who lived a few doors away. "Poor old Bill," said Mr. Cooper, when she had finished. "Still, it might be worse; he's got the barrel o' beer with him." "It's not Bill," said Mrs. Simpson. Mr. Cooper scratched his whiskers and looked at his wife. "She ought to know," said the latter. "We'll come and have a look at him," said Mr. Cooper. Mrs. Simpson pondered, and eyed him dubiously. "Come in and have a bit of supper," she said at last. "There's a nice piece of beef and pickles." "And Bill--I mean the stranger--sitting on the beer-barrel," said Mr. Cooper, gloomily. "You can bring your beer with you," said his sister, sharply. "Come along." Mr. Cooper grinned, and, placing a couple of bottles in his coat pockets, followed the two ladies to the house. Seated at the kitchen table, he grinned again, as a persistent drumming took place on the cellar door. His wife smiled, and a faint, sour attempt in the same direction appeared on the face of Mrs. Simpson. "Open the door!" bellowed an indignant voice. "Open the door!" Mrs. Simpson, commanding silence with an uplifted finger, proceeded to carve the beef. A rattle of knives and forks succeeded. "O-pen-the-door!" said the voice again. "Not so much noise," commanded Mr. Cooper. "I can't hear myself eat." "Bob!" said the voice, in relieved accents, "Bob! Come and let me out." Mr. Cooper, putting a huge hand over his mouth, struggled nobly with his feelings. "Who are you calling 'Bob'?" he demanded, in an unsteady voice. "You keep yourself to yourself. I've heard all about you. You've got to stay there till my brother-in-law comes home." "It's me, Bob," said Mr. Simpson--"Bill." "Yes, I dare say," said Mr. Cooper; "but if you're Bill, why haven't you got Bill's voice?" "Let me out and look at me," said Mr. Simpson. There was a faint scream from both ladies, followed by protests. "Don't be alarmed," said Mr. Cooper, reassuringly. "I wasn't born yesterday. I don't want to get a crack over the head." "It's all a mistake, Bob," said the prisoner, appealingly. "I just had a shave and a haircut and--and a little hair-dye. If you open the door you'll know me at once." "How would it be," said Mr. Cooper, turning to his sister, and speaking with unusual distinctness--"how would it be if you opened the door, and just as he put his head out I hit it a crack with the poker?" "You try it on," said the voice behind the door, hotly. "You know who I am well enough, Bob Cooper. I don't want any more of your nonsense. Milly has put you up to this!" "If your wife don't know you, how do you think I can?" said Mr. Cooper. "Now, look here; you keep quiet till my brother-in-law comes home. If he don't come home perhaps we shall be more likely to think you're him. If he's not home by to-morrow morning we--Hsh! Hsh! Don't you know there's ladies present?" "That settles it," said Mrs. Cooper, speaking for the first time. "My brother-in-law would never talk like that." "I should never forgive him if he did," said her husband, piously. He poured himself out another glass of beer and resumed his supper with relish. Conversation turned on the weather, and from that to the price of potatoes. Frantic efforts on the part of the prisoner to join in the conversation and give it a more personal turn were disregarded. Finally he began to kick with monotonous persistency on the door. "Stop it!" shouted Mr. Cooper. "I won't," said Mr. Simpson. The noise became unendurable. Mr. Cooper, who had just lit his pipe, laid it on the table and looked round at his companions. "He'll have the door down soon," he said, rising. "Halloa, there!" "Halloa!" said the other. "You say you're Bill Simpson," said Mr. Cooper, holding up a forefinger at Mrs. Simpson, who was about to interrupt. "If you are, tell us something you know that only you could know; something we know, so as to identify you. Things about your past." A strange noise sounded behind the door. "Sounds as though he is smacking his lips," said Mrs. Cooper to her sister-in-law, who was eyeing Mr. Cooper restlessly. "Very good," said Mr. Simpson; "I agree. Who is there?" "Me and my wife and Mrs. Simpson," said Mr. Cooper. "He is smacking his lips," whispered Mrs. Cooper. "Having a go at the beer, perhaps." "Let's go back fifteen years," said Mr. Simpson in meditative tones. "Do you remember that girl with copper-coloured hair that used to live in John Street?" "No!" said Mr. Cooper, loudly and suddenly. "Do you remember coming to me one day--two days after Valentine Day, it was--white as chalk and shaking like a leaf, and--" "NO!" roared Mr. Cooper. "Very well, I must try something else, then," said Mr. Simpson, philosophically. "Carry your mind back ten years, Bob Cooper--" "Look here!" said Mr. Cooper, turning round with a ghastly smile. "We'd better get off home, Mary. I don't like interfering in other people's concerns. Never did." "You stay where you are," said his wife. "Ten years," repeated the voice behind the door. "There was a new barmaid at the Crown, and one night you----" "If I listen to any more of this nonsense I shall burst," remarked Mr. Cooper, plaintively. "Go on," prompted Mrs. Cooper, grimly. "One night----" "Never mind," said Mr. Simpson. "It doesn't matter. But does he identify me? Because if not I've got a lot more things I can try." The harassed Mr. Cooper looked around appealingly. "How do you expect me to recognize you--" he began, and stopped suddenly. "Go back to your courting days, then," said Mr. Simpson, "when Mrs. Cooper wasn't Mrs. Cooper, but only wanted to be." Mrs. Cooper shivered; so did Mr. Cooper. "And you came round to me for advice," pursued Mr. Simpson, in reminiscent accents, "because there was another girl you wasn't sure of, and you didn't want to lose them both. Do you remember sitting with the two photographs--one on each knee--and trying to make up your mind?" "Wonderful imagination," said Mr. Cooper, smiling in a ghastly fashion at his wife. "Hark at him!" "I am harking," said Mrs. Cooper. "Am I Bill Simpson or am I not?" demanded Mr. Simpson. "Bill was always fond of his joke," said Mr. Cooper, with a glance at the company that would have moved an oyster. "He was always fond of making up things. You're like him in that. What do you think, Milly?" "It's not my husband," said Mrs. Simpson. "Tell us something about her," said Mr. Cooper, hastily. "I daren't," said Mr. Simpson. "Doesn't that prove I'm her husband? But I'll tell you things about your wife, if you like." "You dare!" said Mrs. Cooper, turning crimson, as she realized what confidences might have passed between husband and wife. "If you say a word of your lies about me, I don't know what I won't do to you." "Very well, I must go on about Bob, then--till he recognizes me," said Mr. Simpson, patiently. "Carry your mind--" "Open the door and let him out," shouted Mr. Cooper, turning to his sister. "How can I recognize a man through a deal door?" Mrs. Simpson, after a little hesitation, handed him the key, and the next moment her husband stepped out and stood blinking in the gas-light. "Do you recognize me?" he asked, turning to Mr. Cooper. "I do," said that gentleman, with a ferocious growl. "I'd know you anywhere," said Mrs. Cooper, with emphasis. "And you?" said Mr. Simpson, turning to his wife. "You're not my husband," she said, obstinately. "Are you sure?" inquired Mr. Cooper. "Certain." "Very good, then," said her brother. "If he's not your husband I'm going to knock his head off for telling them lies about me." He sprang forward and, catching Mr. Simpson by the collar, shook him violently until his head banged against the dresser. The next moment the hands of Mrs. Simpson were in the hair of Mr. Cooper. "How dare you knock my husband about!" she screamed, as Mr. Cooper let go and caught her fingers. "You've hurt him." "Concussion, I think," said Mr. Simpson, with great presence of mind. His wife helped him to a chair and, wetting her handkerchief at the tap, tenderly bathed the dyed head. Mr. Cooper, breathing hard, stood by watching until his wife touched him on the arm. "You come off home," she said, in a hard voice. "You ain't wanted. Are you going to stay here all night?" "I should like to," said Mr. Cooper, wistfully. End of the Project Gutenberg EBook of Stepping Backwards, by W.W. Jacobs *** END OF THIS PROJECT GUTENBERG EBOOK STEPPING BACKWARDS *** ***** This file should be named 12155.txt or 12155.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/1/2/1/5/12155/ 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 business@pglaf.org. 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 gbnewby@pglaf.org 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