The Project Gutenberg eBook of Sam's Ghost This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Sam's Ghost Author: W. W. Jacobs Release date: March 1, 2004 [eBook #11474] Most recently updated: December 25, 2020 Language: English Credits: Produced by David Widger *** START OF THE PROJECT GUTENBERG EBOOK SAM'S GHOST *** Produced by David Widger DEEP WATERS By W.W. JACOBS SAM'S GHOST Yes, I know, said the night-watchman, thoughtfully, as he sat with a cold pipe in his mouth gazing across the river. I've 'eard it afore. People tell me they don't believe in ghosts and make a laugh of 'em, and all I say is: let them take on a night-watchman's job. Let 'em sit 'ere all alone of a night with the water lapping against the posts and the wind moaning in the corners; especially if a pal of theirs has slipped overboard, and there is little nasty bills stuck up just outside in the High Street offering a reward for the body. Twice men 'ave fallen overboard from this jetty, and I've 'ad to stand my watch here the same night, and not a farthing more for it. One of the worst and artfullest ghosts I ever 'ad anything to do with was Sam Bullet. He was a waterman at the stairs near by 'ere; the sort o' man that 'ud get you to pay for drinks, and drink yours up by mistake arter he 'ad finished his own. The sort of man that 'ad always left his baccy-box at 'ome, but always 'ad a big pipe in 'is pocket. He fell overboard off of a lighter one evening, and all that his mates could save was 'is cap. It was on'y two nights afore that he 'ad knocked down an old man and bit a policeman's little finger to the bone, so that, as they pointed out to the widder, p'r'aps he was taken for a wise purpose. P'r'aps he was 'appier where he was than doing six months. "He was the sort o' chap that'll make himself 'appy anywhere," ses one of 'em, comforting-like. "Not without me," ses Mrs. Bullet, sobbing, and wiping her eyes on something she used for a pocket-hankercher. "He never could bear to be away from me. Was there no last words?" "On'y one," ses one o' the chaps, Joe Peel by name. "As 'e fell overboard," ses the other. Mrs. Bullet began to cry agin, and say wot a good 'usband he 'ad been. "Seventeen years come Michaelmas," she ses, "and never a cross word. Nothing was too good for me. Nothing. I 'ad only to ask to 'ave." "Well, he's gorn now," ses Joe, "and we thought we ought to come round and tell you." "So as you can tell the police," ses the other chap. That was 'ow I came to hear of it fust; a policeman told me that night as I stood outside the gate 'aving a quiet pipe. He wasn't shedding tears; his only idea was that Sam 'ad got off too easy. "Well, well," I ses, trying to pacify 'im, "he won't bite no more fingers; there's no policemen where he's gorn to." He went off grumbling and telling me to be careful, and I put my pipe out and walked up and down the wharf thinking. On'y a month afore I 'ad lent Sam fifteen shillings on a gold watch and chain wot he said an uncle 'ad left 'im. I wasn't wearing it because 'e said 'is uncle wouldn't like it, but I 'ad it in my pocket, and I took it out under one of the lamps and wondered wot I ought to do. My fust idea was to take it to Mrs. Bullet, and then, all of a sudden, the thought struck me: "Suppose he 'adn't come by it honest?" I walked up and down agin, thinking. If he 'adn't, and it was found out, it would blacken his good name and break 'is pore wife's 'art. That's the way I looked at it, and for his sake and 'er sake I determined to stick to it. I felt 'appier in my mind when I 'ad decided on that, and I went round to the Bear's Head and 'ad a pint. Arter that I 'ad another, and then I come back to the wharf and put the watch and chain on and went on with my work. Every time I looked down at the chain on my waistcoat it reminded me of Sam. I looked on to the river and thought of 'im going down on the ebb. Then I got a sort o' lonesome feeling standing on the end of the jetty all alone, and I went back to the Bear's Head and 'ad another pint. They didn't find the body, and I was a'most forgetting about Sam when one evening, as I was sitting on a box waiting to get my breath back to 'ave another go at sweeping, Joe Peel, Sam's mate, came on to the wharf to see me. He came in a mysterious sort o' way that I didn't like: looking be'ind 'im as though he was afraid of being follered, and speaking in a whisper as if 'e was afraid of being heard. He wasn't a man I liked, and I was glad that the watch and chain was stowed safe away in my trowsis-pocket. "I've 'ad a shock, watchman," he ses. "Oh!" I ses. "A shock wot's shook me all up," he ses, working up a shiver. "I've seen something wot I thought people never could see, and wot I never want to see agin. I've seen Sam!" I thought a bit afore I spoke. "Why, I thought he was drownded," I ses. "So 'e is," ses Joe. "When I say I've seen 'im I mean that I 'ave seen his ghost!" He began to shiver agin, all over. "Wot was it like?" I ses, very calm. "Like Sam," he ses, rather short. "When was it?" I ses. "Last night at a quarter to twelve," he ses. "It was standing at my front door waiting for me." "And 'ave you been shivering like that ever since?" I ses. "Worse than that," ses Joe, looking at me very 'ard. "It's wearing off now. The ghost gave me a message for you." I put my 'and in my trowsis-pocket and looked at 'im. Then I walked very slow, towards the gate. "It gave me a message for you," ses Joe, walking beside me. "'We was always pals, Joe,'" it ses, "'you and me, and I want you to pay up fifteen bob for me wot I borrowed off of Bill the watchman. I can't rest until it's paid,' it ses. So here's the fifteen bob, watchman." He put his 'and in 'is pocket and takes out fifteen bob and 'olds it out to me. "No, no," I ses. "I can't take your money, Joe Peel. It wouldn't be right. Pore Sam is welcome to the fifteen bob--I don't want it." "You must take it," ses Joe. "The ghost said if you didn't it would come to me agin and agin till you did, and I can't stand any more of it." "I can't 'elp your troubles," I ses. "You must," ses Joe. "'Give Bill the fifteen bob,' it ses, 'and he'll give you a gold watch and chain wot I gave 'im to mind till it was paid.'" I see his little game then. "Gold watch and chain," I ses, laughing. "You must ha' misunderstood it, Joe." "I understood it right enough," ses Joe, getting a bit closer to me as I stepped outside the gate. "Here's your fifteen bob; are you going to give me that watch and chain?" "Sartainly not," I ses. "I don't know wot you mean by a watch and chain. If I 'ad it and I gave it to anybody, I should give it to Sam's widder, not to you." "It's nothing to do with 'er," ses Joe, very quick. "Sam was most pertikler about that." "I expect you dreamt it all," I ses. "Where would pore Sam get a gold watch and chain from? And why should 'e go to you about it? Why didn't 'e come to me? If 'e thinks I 'ave got it let 'im come to me." "All right, I'll go to the police-station," ses Joe. "I'll come with you," I ses. "But 'ere's a policeman coming along. Let's go to 'im." I moved towards 'im, but Joe hung back, and, arter using one or two words that would ha' made any ghost ashamed to know 'im, he sheered off. I 'ad a word or two with the policeman about the weather, and then I went inside and locked the gate. My idea was that Sam 'ad told Joe about the watch and chain afore he fell overboard. Joe was a nasty customer, and I could see that I should 'ave to be a bit careful. Some men might ha' told the police about it--but I never cared much for them. They're like kids in a way, always asking questions--most of which you can't answer. It was a little bit creepy all alone on the wharf that night. I don't deny it. Twice I thought I 'eard something coming up on tip-toe behind me. The second time I was so nervous that I began to sing to keep my spirits up, and I went on singing till three of the hands of the Susan Emily, wot was lying alongside, came up from the fo'c'sle and offered to fight me. I was thankful when daylight came. Five nights arterwards I 'ad the shock of my life. It was the fust night for some time that there was no craft up. A dark night, and a nasty moaning sort of a wind. I 'ad just lighted the lamp at the corner of the warehouse, wot 'ad blown out, and was sitting down to rest afore putting the ladder away, when I 'appened to look along the jetty and saw a head coming up over the edge of it. In the light of the lamp I saw the dead white face of Sam Bullet's ghost making faces at me. [Illustration: IN THE LIGHT OF THE LAMP I SAW THE DEAD WHITE FACE] I just caught my breath, sharp like, and then turned and ran for the gate like a race-horse. I 'ad left the key in the padlock, in case of anything happening, and I just gave it one turn, flung the wicket open and slammed it in the ghost's face, and tumbled out into the road. I ran slap into the arms of a young policeman wot was passing. Nasty, short-tempered chap he was, but I don't think I was more glad to see anybody in my life. I hugged 'im till 'e nearly lost 'is breath, and then he sat me down on the kerb-stone and asked me wot I meant by it. Wot with the excitement and the running I couldn't speak at fust, and when I did he said I was trying to deceive 'im. "There ain't no such thing as ghosts," he ses; "you've been drinking." "It came up out o' the river and run arter me like the wind," I ses. "Why didn't it catch you, then?" he ses, looking me up and down and all round about. "Talk sense." He went up to the gate and peeped in, and, arter watching a moment, stepped inside and walked down the wharf, with me follering. It was my dooty; besides, I didn't like being left all alone by myself. Twice we walked up and down and all over the wharf. He flashed his lantern into all the dark corners, into empty barrels and boxes, and then he turned and flashed it right into my face and shook his 'ead at me. "You've been having a bit of a lark with me," he ses, "and for two pins I'd take you. Mind, if you say a word about this to anybody, I will." He stalked off with his 'ead in the air, and left me all alone in charge of a wharf with a ghost on it. I stayed outside in the street, of course, but every now and then I fancied I heard something moving about the other side of the gate, and once it was so distinct that I run along to the Bear's Head and knocked 'em up and asked them for a little brandy, for illness. I didn't get it, of course; I didn't expect to; but I 'ad a little conversation with the landlord from 'is bedroom-winder that did me more good than the brandy would ha' done. Once or twice I thought he would 'ave fallen out, and many a man has 'ad his licence taken away for less than a quarter of wot 'e said to me that night. Arter he thought he 'ad finished and was going back to bed agin, I pointed' out to 'im that he 'adn't kissed me "good night," and if it 'adn't ha' been for 'is missis and two grown-up daughters and the potman I believe he'd ha' talked to me till daylight. 'Ow I got through the rest of the night I don't know. It seemed to be twenty nights instead of one, but the day came at last, and when the hands came on at six o'clock they found the gate open and me on dooty same as usual. I slept like a tired child when I got 'ome, and arter a steak and onions for dinner I sat down and lit my pipe and tried to think wot was to be done. One thing I was quite certain about: I wasn't going to spend another night on that wharf alone. I went out arter a bit, as far as the Clarendon Arms, for a breath of fresh air, and I 'ad just finished a pint and was wondering whether I ought to 'ave another, when Ted Dennis came in, and my mind was made up. He 'ad been in the Army all 'is life, and, so far, he 'ad never seen anything that 'ad frightened 'im. I've seen him myself take on men twice 'is size just for the love of the thing, and, arter knocking them silly, stand 'em a pint out of 'is own pocket. When I asked 'im whether he was afraid of ghosts he laughed so 'ard that the landlord came from the other end of the bar to see wot was the matter. I stood Ted a pint, and arter he 'ad finished it I told 'im just how things was. I didn't say anything about the watch and chain, because there was no need to, and when we came outside agin I 'ad engaged an assistant-watchman for ninepence a night. "All you've got to do," I ses, "is to keep me company. You needn't turn up till eight o'clock of a night, and you can leave 'arf an hour afore me in the morning." "Right-o!" ses Ted. "And if I see the ghost I'll make it wish it 'ad never been born." It was a load off my mind, and I went 'ome and ate a tea that made my missis talk about the work-'ouse, and orstritches in 'uman shape wot would eat a woman out of 'ouse and 'ome if she would let 'em. I got to the wharf just as it was striking six, and at a quarter to seven the wicket was pushed open gentle and the ugly 'ead of Mr. Joe Peel was shoved inside. "Hullo!" I ses. "Wot do you want?" "I want to save your life," he ses, in a solemn voice. "You was within a inch of death last night, watchman." "Oh!" I ses, careless-like. "'Ow do you know!" "The ghost o' Sam Bullet told me," ses Joe. "Arter it 'ad chased you up the wharf screaming for 'elp, it came round and told me all about it." "It seems fond of you," I ses. "I wonder why?" "It was in a terrible temper," ses Joe, "and its face was awful to look at. 'Tell the watchman,' it ses, 'that if he don't give you the watch and chain I shall appear to 'im agin and kill 'im.'" "All right," I ses, looking behind me to where three of the 'ands of the Daisy was sitting on the fo'c'sle smoking. "I've got plenty of company to-night." "Company won't save you," ses Joe. "For the last time, are you going to give me that watch and chain, or not? Here's your fifteen bob." "No," I ses; "even if I 'ad got it I shouldn't give it to you; and it's no use giving' it to the ghost, because, being made of air, he 'asn't got anywhere to put it." "Very good," ses Joe, giving me a black look. "I've done all I can to save you, but if you won't listen to sense, you won't. You'll see Sam Bullet agin, and you'll not on'y lose the watch and chain but your life as well." "All right," I ses, "and thank you kindly, but I've got an assistant, as it 'appens--a man wot wants to see a ghost." "An' assistant?" ses Joe, staring. "An old soldier," I ses. "A man wot likes trouble and danger. His idea is to shoot the ghost and see wot 'appens." "Shoot!" ses Joe. "Shoot a pore 'armless ghost. Does he want to be 'ung? Ain't it enough for a pore man to be drownded, but wot you must try and shoot 'im arterwards? Why, you ought to be ashamed o' yourself. Where's your 'art?" "It won't be shot if it don't come on my wharf," I ses. "Though I don't mind if it does when I've got somebody with me. I ain't afraid of anything living, and I don't mind ghosts when there's two of us. Besides which, the noise of the pistol 'll wake up 'arf the river." "You take care you don't get woke up," ses Joe, 'ardly able to speak for temper. He went off stamping, and grinding 'is teeth, and at eight o'clock to the minute, Ted Dennis turned up with 'is pistol and helped me take care of the wharf. Happy as a skylark 'e was, and to see him 'iding behind a barrel with his pistol ready, waiting for the ghost, a'most made me forget the expense of it all. It never came near us that night, and Ted was a bit disappointed next morning as he took 'is ninepence and went off. Next night was the same, and the next, and then Ted gave up hiding on the wharf for it, and sat and snoozed in the office instead. A week went by, and then another, and still there was no sign of Sam Bullet's ghost, or Joe Peel, and every morning I 'ad to try and work up a smile as I shelled out ninepence for Ted. It nearly ruined me, and, worse than that, I couldn't explain why I was short to the missis. Fust of all she asked me wot I was spending it on, then she asked me who I was spending it on. It nearly broke up my 'ome--she did smash one kitchen- chair and a vase off the parlour mantelpiece--but I wouldn't tell 'er, and then, led away by some men on strike at Smith's wharf, Ted went on strike for a bob a night. That was arter he 'ad been with me for three weeks, and when Saturday came, of course I was more short than ever, and people came and stood at their doors all the way down our street to listen to the missis taking my character away. I stood it as long as I could, and then, when 'er back was turned for 'arf a moment, I slipped out. While she'd been talking I'd been thinking, and it came to me clear as daylight that there was no need for me to sacrifice myself any longer looking arter a dead man's watch and chain. I didn't know exactly where Joe Peel lived, but I knew the part, and arter peeping into seven public-'ouses I see the man I wanted sitting by 'imself in a little bar. I walked in quiet-like, and sat down opposite 'im. "Morning," I ses. Joe Peel grunted. "'Ave one with me?" I ses. He grunted agin, but not quite so fierce, and I fetched the two pints from the counter and took a seat alongside of 'im. "I've been looking for you," I ses. "Oh!" he ses, looking me up and down and all over. "Well, you've found me now." "I want to talk to you about the ghost of pore Sam Bullet," I ses. Joe Peel put 'is mug down sudden and looked at me fierce. "Look 'ere! Don't you come and try to be funny with me," he ses. "'Cos I won't 'ave it." "I don't want to be funny," I ses. "Wot I want to know is, are you in the same mind about that watch and chain as you was the other day?" He didn't seem to be able to speak at fust, but arter a time 'e gives a gasp. "Woes the game?" he ses. "Wot I want to know is, if I give you that watch and chain for fifteen bob, will that keep the ghost from 'anging round my wharf agin?" I ses. "Why, o' course," he ses, staring; "but you ain't been seeing it agin, 'ave you?" "I've not, and I don't want to," I ses. "If it wants you to 'ave the watch and chain, give me the fifteen bob, and it's yours." He looked at me for a moment as if he couldn't believe 'is eyesight, and then 'e puts his 'and into 'is trowsis-pocket and pulls out one shilling and fourpence, 'arf a clay-pipe, and a bit o' lead-pencil. "That's all I've got with me," he ses. "I'll owe you the rest. You ought to ha' took the fifteen bob when I 'ad it." There was no 'elp for it, and arter making 'im swear to give me the rest o' the money when 'e got it, and that I shouldn't see the ghost agin, I 'anded the things over to 'im and came away. He came to the door to see me off, and if ever a man looked puzzled, 'e did. Pleased at the same time. It was a load off of my mind. My con-science told me I'd done right, and arter sending a little boy with a note to Ted Dennis to tell 'im not to come any more, I felt 'appier than I 'ad done for a long time. When I got to the wharf that evening it seemed like a diff'rent place, and I was whistling and smiling over my work quite in my old way, when the young policeman passed. "Hullo !" he ses. "'Ave you seen the ghost agin?" "I 'ave not," I ses, drawing myself up. "'Ave you?" "No," he ses. "We missed it." "Missed it?" I ses, staring at 'im. "Yes," he ses, nodding. "The day arter you came out screaming, and cuddling me like a frightened baby, it shipped as A.B. on the barque Ocean King, for Valparaiso. We missed it by a few hours. Next time you see a ghost, knock it down fust and go and cuddle the police arterwards." *** END OF THE PROJECT GUTENBERG EBOOK SAM'S GHOST *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 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.