The Project Gutenberg eBook of A Day at Camp Killkare, by Elsie Duncan Yale.

A HIT ON YOUR NEXT PROGRAM!

Something Out of The Ordinary
In High-Class Humorous Songs.

MUSICAL SKETCHES FOR YOUNG LADIES
By Harry C. Eldridge

These fill an urgent need in supplying musical numbers with action, for any secular program, for girls or ladies of any age. Clever words and singable music combined to make novel numbers for your entertainment.

THE HAT OF OTHER DAYS. Everyone knows how ridiculous the changing styles make out-of-date hats appear. The song is based on this fact, and the appearance of these “hats of other days” will cause loads of merriment.

“I CAN’T DO A THING WITH MY HAIR SINCE IT’S WASHED.” Did you ever hear the above expression? They all say it. This song is for a merry group of girls who have trouble in keeping their hair in bounds. A jolly song.

REDUCED TO $1.99. The figures in a dry goods show window are indignant at having to participate in so many “reduction sales,” and, revolting, walk off the stage after telling their troubles in song. The eccentric motions of these figures make a very laughable number.

THE WINNING WAYS OF GRANDMA’S DAYS. Sung in costume, this portrays the many welcome and pleasing costumes of “ye olden times.” Directions for minuet included. Very enjoyable.

Any one of the above sent postpaid on receipt of 25 cents.
——————————————
ELDRIDGE ENTERTAINMENT HOUSE
Franklin, Ohio

SCENE.

The scenery is the same for both acts. If given out doors select if possible a place among trees or large bushes. One tent will be sufficient to represent the camp, and only a portion of this need be visible. A hammock with bright colored cushions will add to the effect. Have one or two camp stools, a sketching outfit, and a Kodak near the tent.

If the play is given indoors small trees or leafy branches placed in buckets of sand may be used to represent the woods. Cover the floor with brown denim or linen, and scatter leaves, pineneedles and cones upon it.

The campers wear middy blouses with short dark skirts or bloomers. Miss Morgan’s costume is similar except that her skirt is longer.

Lucille and Miss Pickett wear any costume appropriate for motoring and the latter carries a lorgnette.

Characters.

Suggestions.

The character of Miss Pickett offers great opportunity for comedy, as much of the success of the play will depend upon her ability to be serious, yet funny. Her efforts to keep up with the girls in their drills and exercises, her ludicrous appearance in the misfit costume in the second scene should make a hit. A little musical program interpolated at any point or points the director sees fit will add to the enjoyment and lengthen the play. “I Can’t Do a Thing With My Hair Since It’s Washed,” an action song for young ladies, price 25 cents, will fit admirably in this play.

Drills may be introduced in the second act if desired, a bow and arrow drill, or dumb bell drill being especially appropriate.

A brief program of songs and recitations may also be included in the second act.

SCENE I.

As the curtain rises girls are seen seated, Hilda embroidering, Ruth busy with raffia, Hope making a basket. Enter Kitty.

Kitty. Look at the industry on a warm morning. I’ll be the sluggard. (Seats herself in the hammock and opens a book.) How’s the fancy work, Hilda?

Hilda. I wish the old thing was done. Carolyn sails next week and I want this traveling case to be finished in time.

Kitty. Uncle Fred went to Europe last summer, and he said he was simply tired of the everlasting tipping. Finally he saw a sign in his room at the hotel, “Please tip the basin after using,” and he said he drew the line there.

Hilda. I’d love the ocean voyage, and I know I wouldn’t be afraid, even in a storm. Mother told me that when she went over, there was an old lady who was terribly nervous, and each day she pestered the captain, asking him how far it was to land. Finally one day he answered her politely, “Five miles, madam.” She was delighted and asked very eagerly “where?” and he told her “straight down below our keel, madam.”

Kitty. Uncle Fred wasn’t a bit seasick, but one day on deck a man and his wife were near him, all bundled up in their steamer chairs and looking terribly woebegone. Their little boy was playing around full of mischief, and the mother said feebly, “Papa, won’t you speak to Willie?” And papa said just as feebly, “How do you do, Willie?”

Ruth. Well, I don’t like troublesome children. I had to take care of Cousin Julia’s baby all one afternoon and he did nothing but cry. So I let him cry into the phonograph, so that when he grew up he could hear what a troublesome baby he had been.

Kitty. Yes, I do. I know that when the great patriot, Nathan Hale, was about to be executed he said, “Would that I were a cat that I might have nine lives to give to my country.”

Kitty. I wish I were an artist. I tried to paint a sunset once, but the family thought it was a tomato omelet, so I forebore.

Hope. (Reaching for mail bag.) Here, hand over the letters like a nice lady.

Betty. (waving them back.) Stand back, ladies, and show some respect for the representative of the postal system of our nation. I’ll distribute the mail.

Betty. What an example! Miss Morgan is the only one who has thanked me for bringing her letters up a steep mountain path beset by tiger lillies, dandelions, foxglove, wolfsbane and every flower carrying a pistil.

Betty. Miss Kitty Carroll, Miss Ruth Scott. That’s all but the lollypops and here they are.

Hope. You said you’d surely remember and you tied a knot in your handkerchief.

Ruth. Oh, isn’t this a pity? Lucille can’t come. Her aunt’s going to take her on a motor trip.

Ruth. Not a motor trip a la Aunt Jane. Aunt Camilla and Uncle Samuel will go along. Lucille and the two aunts will sit squeezed together on the back seat, and the conversation will be exclusively devoted to nervous dyspepsia and sciatica. When Uncle Samuel can get a word in edgewise he will pipe up about the wholesale price of lard and pork.

Miss Morgan. Girls, I have good news for you. I have a letter from Miss Pickett, Lucille’s Aunt Jane, and she writes that she has decided to surprise Lucille. They will stop here and visit us for a day on their way to join Mr. and Mrs. Brown.

Miss Morgan. She sent me a special delivery letter which for some reason was not delivered last night.

Betty. The postmaster told me he was already to go to lodge, so he thought the letter could wait till morning.

Kitty. He was as bad as the telegraph operator at Birchwood last summer. Uncle’s partner sent him a code message, and the operator never delivered it. He said “It didn’t make no sense so he didn’t see no use of walking two miles with it.”

Miss Morgan. Are your tents in order? They were at inspection this morning but they’ve had time to get disarranged.

Kitty. Mine is spick and span. I believe in a place for everything and everything in its place.

Kitty. Well, what’s the objection to that? When I want a ribbon or a belt I simply stir up a bit like this (gesture) till it comes to the surface.

Hope. Sure. Let’s lay out some plain sewing and a few improving books, so as to give a good impression.

(Miss Morgan glances in tent, straightens pillows in hammock, and puts away her sketching outfit.)

Miss Morgan. I do hope that we can impress Miss Pickett favorably so that she will allow Lucille to stay with us, but that is a little too much to expect. Poor child, I believe her aunt would like to send her to an old-fashioned boarding school, if she could find one, and have her taught to make alum baskets and play the Maiden’s Prayer.

Miss Pickett. This is a terrible hill. It will give me nervous dyspepsia or sciatica or both.

Miss Morgan. Miss Pickett, we are delighted to see you at our camp.... (Kisses Lucille) Lucille, dear, this is lovely.

Miss Pickett. It was quite tiresome for we lost our way. All the guide posts told us to use Scrubit Soap or Purple Pills for Pale People. Then for the last half hour when they did condescend to mention Pineville, it was always the same distance. First it was eight miles to Pineville, then after riding ten minutes it was eight miles to Pineville, and then after fifteen minutes it was still eight miles to Pineville. The[10] chauffeur was quite impertinent, for he said, “Thank goodness, we are holding our own anyway.”

Miss Pickett. Well, Lucille was so set on coming that I decided to let her have a day of it. Though for the life of me I can’t see the fun of having spiders crawl over you while you sleep, and ants in the coffee, and eating canned stuff for weeks. I will say frankly it is not my idea of a ladylike vacation.

Miss Morgan. We certainly appreciate your kindness in bringing Lucille when it caused you so much inconvenience.

Miss Pickett. Well, to tell the truth I never approved of that costume. The middies, as you call them, remind me of the way the Chinese laundrymen wear their clothes. I like a dress neatly belted in.

Miss Pickett. (pleased) No, the dressmaker made it under my supervision. Very well, Lucille, you may accept Betty’s offer.

Miss Morgan. Miss Pickett suppose you and I go down to the lake where it is cooler.

Miss Pickett. No indeed. My nephew Robert has one, and on one occasion he wished to have a discussion with his father. My brother Jonas is quick tempered and will never listen to argument so Robert invited him out in his canoe, and when he had Jonas out in the middle of the river he opened up the subject. Poor Jonas didn’t dare to walk up and down the way he usually does, but he had to sit still and listen calmly for Robert warned him that the canoe would upset at the slightest motion.

Miss Pickett. Well Lucille, you may accept Betty’s kind offer of a middy blouse and skirt. Hang your coat carefully on a hanger and don’t fall into the lake whatever you do.

Hope. (softly) Hang your clothes on a hickory limb but don’t go near the water.

SCENE II

Ruth. (irritated) You girls make me tired. Can’t you tell me what happened?

Hope. Well Aunt Jane went down to the lake with Miss Morgan as she said she would. Then she took a notion to walk around it. That’s scene two.[12] Scene three she saw a water lily near the edge that she wanted, and she reached for it and slipped in. The water was only a foot deep but of course she got wringing wet. She set up a S. O. S. call or whatever the latest wireless is and Betty and Lucille rushed to the rescue. First aid to the injured you know.

Hilda. Of course poor Aunt Jane was soaking wet, and then the question was what to do?

Ruth. Couldn’t you girls have gone to the village to get dry clothing from her suit case?

Kitty. Nix. For she had let the chauffeur go to Cherry Valley to see his mother.

Hope. Aunt Jane wanted a blanket wrapper, for of course Miss Morgan’s clothes wouldn’t fit her.

Hilda. Just imagine how hilarious it would be to see Aunty sitting around all day in a blanket wrapper and worsted slippers.

Hope. But Betty came to the rescue. She actually coaxed Aunt Jane to accept the loan of a middy blouse and skirt to wear for the rest of the day while her clothes dried in the sun.

Hope. Oh we’ve all got to behave ourselves I can tell you, for if we don’t look out Miss Pickett will get so soured on camps, she won’t let Lucille even mention the word.

Kitty. I’ll tell you what we must do. Betty is dressing auntie up in camp clothes, and we must do our best to make her have a nice day, and convert her to the joys of camping. She’s mad as a wet hen now.

Hope. Well we’ll all try our best to rejuvenate her and give her a jolly day.

(Enter Miss Morgan, Miss Pickett, Betty, Lucille. Miss Pickett is dressed ridiculously in middy blouse, too small for her and a short skirt.)

Miss Pickett. Nice in this scandalous costume! I’m glad that the Ladies Aid Society and the Civic club can’t see me.

Betty. Now Aunt Jane—excuse me—but I wish you’d let me call you that—believe me that red is becoming to you, very. Isn’t it girls?

Kitty. Oh lovely! Well this is my idea. You be a regular camper today, for we want you to see just what jolly good times we have.

Miss Pickett. Mercy sakes, do you want me to do high diving and walk ten miles, and eat fish blackened over a wood fire?

Ruth. Oh that isn’t camping. We lead the simple life, not the strenuous one.

Betty. I think it would be lovely for her to spend a day just exactly as we spend it.

Hilda. I was going to fix up Hope’s bed pie-fashion one time, and when I hesitated at the door, I saw her motto “Do it now” so I did.

Ruth. After tent inspection we have a wand drill, to make us graceful. Let’s have that.

(Wand drill, in which Miss Pickett follows awkwardly the motions of the girls.)

Betty. That is fine, you did splendidly. If you did that every day you’d never have nervous dyspepsia.

Kitty. Then we soak our blouses awhile and then scrub them on the rock with a nail brush.

Betty. And hang them up to dry on the trees—that old tree over there usually.

Miss Pickett. What a beautiful old oak. I wonder what it would say if it could speak.

Betty. Now we’ll consider our mending time done, and next is the swimming hour.

Betty. Why if you can’t swim you miss half your life and sometimes all of it.

Ruth. I was down at the swimming pool at home one day and Mrs. Brent, she is terribly rich you know brought down her little dog and told the man she wanted her dog to learn to swim. So the man took the doggie and tossed him into the pool and doggie paddled back, of course. Then the man rubbed him with a Turkish towel, and told Mrs. Brent that was the first lesson and the charge was fifty cents and to bring the dog twice a week for six weeks.

Betty. Let’s have the land practice Miss Morgan, the way we did when we were learning.

Miss Morgan. The girls are taught the motions of swimming before they go in the water.

(Girls go through land practice in swimming. Miss Pickett following awkwardly. This is a sort of gymnastic exercise. Girls wave arms in unison as in swimming, using the different strokes, lifting first one foot and then the other, with occasional kicks. Miss Pickett’s efforts to follow them can be made very funny.)

Aunt Jane. How unspeakably grotesque. I am certainly glad that my neighbors and the members of the Civic Club could not see me.

Lucille. (aside) Half the morning gone and Aunt Jane hasn’t mentioned nerves. What’s going to happen?

Betty. Why I was going to propose a hike. Let’s take a tramp to Blueberry Hill?

Betty. A hike is the correct term. We pack up a lunch and then go for a little stroll of ten miles.

Miss Pickett. I believe in walking every day, and each morning I walk three blocks to market. The other morning a young bride was doing her buying, and I heard her ask the butcher for an eighth of lamb, as a quarter was too much.

Ruth. Mother heard a woman complain to the butcher that the lamb was a little spoiled and the butcher said “No wonder ma’am that lamb was a great pet of my children’s and I was afraid they’d spoil it.”

Betty. Well Aunt Jane, we can’t give you a credit for hiking on the strength of three blocks to the butchers’ but if you lived with us any length of time we’d have you a champion.

Miss Pickett. Your work is very creditable indeed. My mother when she was a girl made alum baskets and wax flowers, and wreaths from the hair of relatives, but these are prettier.

Lucille. That’s a compliment. Your basket is prettier than the camelias made from Aunt Susan’s back hair.

Miss Morgan. I think you girls are forgetting the most important feature of all.

Kitty. She is economical too. She can make an omelet for ten people with two eggs and a bicycle pump.

Hope. (outside.) Mercy there’s a spider on the custard. Pick it out Ruth, I’m busy, for there are a dozen ants in the sugar bowl.

Hope. (outside.) Oh my nice cream cake. A toad jumped right in the middle of the meringue. I’ll smooth it over, it will never show.

Betty. Aunt Jane, I heard your scoffing words about the prevalence of ants at picnic tables, and I can assure you that you will be the only aunt who graces our festal board.

Kitty. Aunt Jane, you look lots better than when you came this morning. Tell me honestly haven’t you enjoyed it?

Miss Pickett. I believe you have given me a very fair initiation into camp life.

Miss Pickett. I understand that camper Fire girls not only stand for neatness—

Miss Pickett. To finish my speech you are kindly helping me make. I believe that campers also stand for kindly deeds, so I wish you to remember me by[19] one. (Turns to Lucille.) Lucille, my dear, with Miss Morgan’s permission you may spend the remainder of the summer here, and I will send at once for suitable clothes for you.

RELEASED FOR AMATEUR PRODUCTION.

“The Little Politician”

By SEYMOUR S. TIBBALS
————
A COMEDY IN FOUR ACTS
SEVEN MALES AND THREE FEMALES
————

THIS play was produced professionally for several seasons under another title, and is now released for amateur production without royalty and without restrictions of any kind. The scenery and costumes are simple. Time, about two hours. A young society girl plays an important part in overthrowing a corrupt political boss and brings about the election of her fiance. The race for the hand of a wealthy widow by rival suitors furnishes the comedy. A pretty story is unfolded, but without actual love-making or any scenes objectionable to the amateur. Recommended for high schools and dramatic clubs.

The garden party in the second act affords opportunity for the introduction of any number of characters.

PRICE, 25 CENTS
———————————
Sent Postpaid on Receipt of Price by the
ELDRIDGE ENTERTAINMENT HOUSE
Franklin, Ohio

“THE HOUSE THAT HELPS”

WE ARE SPECIALISTS IN

Amateur Entertainments

It is not a side line with us, but we
devote our entire time to that business

Realizing that many people have grown weary of searching through catalogs and reading entertainments only to discard them as unavailable we appreciate the fact that our customers have often spoken of us as “the house that helps.” We have had practical experience in selecting and producing amateur entertainments and we feel that we know what will please the public, and what can be produced under certain conditions. Our experience is at your disposal. Write us, giving full particulars of your special need in the way of an entertainment, and we will select a play, an operetta, a drill or even an entire program for you. But always enclose a stamp for the reply.

Remember, that in addition to our entertainments we carry a large line of publications of other dealers. If in doubt as to the entertainment you desire, send particulars and we will suggest something to fit.

We are at your service.

ELDRIDGE ENTERTAINMENT HOUSE
Franklin, Ohio

Mr. Tibbals has been unusually successful in furnishing boys’ plays that introduce characters true to life. While the plays are strong and forceful in the lessons they teach, clean comedy predominates and the boys like them.

A comedy in two acts. Here is a rollicking play for eight or more boys with plenty of action. Just the thing for a Boys’ Class or Junior Y. M. C. A. Easily staged and costumed. Opportunity for introduction of musical numbers and recitations. By introducing such features the play may be used for an entire evening’s entertainment.

A splendid play for any number of boys. The characters are real boys and the play deals with their experiences while camping up Caesar’s Creek the performance closing with a minstrel show in camp. Costumes and scenery are not elaborate and the play may be produced on any stage.

These comedies are protected by copyright, but permission for amateur production is granted with the purchase of the book.

Transcriber’s Notes:

Obvious punctuation errors repaired.

Page 3, “similiar” changed to “similar” (Morgan’s costume is similar)

Page 10, “Pickettt” changed to “Pickett” (Miss Pickett. Well, to)

Page 15, “propably” changed to “probably” (It would probably say)

Page 15, repeated word “is” removed from text (she is terribly rich)

Page 19, “Wahelo” changed to “Wohelo” (Campers give Wohelo call)

Back cover, sticker over word “BOYS” in title. Word found in another copy of the same ad.

*** END OF THE PROJECT GUTENBERG EBOOK A DAY AT CAMP KILLKARE; OR, AUNT JANE AND THE CAMPFIRE GIRLS ***

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 A Day at Camp Killkare; Or, Aunt Jane and the Campfire Girls

A Day at Camp Killkare

SCENE.

Characters.

Suggestions.

SCENE I.

SCENE II

THE FULL PROJECT GUTENBERG LICENSE