The Nest Egg
W.W. Jacobs

Produced by David Widger


By W.W. Jacobs


[Illustration: "The Nest Egg."]

"Artfulness," said the night-watch-man, smoking placidly, "is a gift; but
it don't pay always. I've met some artful ones in my time--plenty of
'em; but I can't truthfully say as 'ow any of them was the better for
meeting me."

He rose slowly from the packing-case on which he had been sitting and,
stamping down the point of a rusty nail with his heel, resumed his seat,
remarking that he had endured it for some time under the impression that
it was only a splinter.

"I've surprised more than one in my time," he continued, slowly. "When I
met one of these 'ere artful ones I used fust of all to pretend to be
more stupid than wot I really am."

He stopped and stared fixedly.

"More stupid than I looked," he said. He stopped again.

"More stupid than wot they thought I looked," he said, speaking with
marked deliberation. And I'd let 'em go on and on until I thought I had
'ad about enough, and then turn round on 'em. Nobody ever got the better
o' me except my wife, and that was only before we was married. Two
nights arterwards she found a fish-hook in my trouser-pocket, and arter
that I could ha' left untold gold there--if I'd ha' had it. It spoilt
wot some people call the honey-moon, but it paid in the long run.

One o' the worst things a man can do is to take up artfulness all of a
sudden. I never knew it to answer yet, and I can tell you of a case
that'll prove my words true.

It's some years ago now, and the chap it 'appened to was a young man, a
shipmate o' mine, named Charlie Tagg. Very steady young chap he was, too
steady for most of 'em. That's 'ow it was me and 'im got to be such

He'd been saving up for years to get married, and all the advice we could
give 'im didn't 'ave any effect. He saved up nearly every penny of 'is
money and gave it to his gal to keep for 'im, and the time I'm speaking
of she'd got seventy-two pounds of 'is and seventeen-and-six of 'er own
to set up house-keeping with.

Then a thing happened that I've known to 'appen to sailormen afore. At
Sydney 'e got silly on another gal, and started walking out with her, and
afore he knew wot he was about he'd promised to marry 'er too.

Sydney and London being a long way from each other was in 'is favour, but
the thing that troubled 'im was 'ow to get that seventy-two pounds out of
Emma Cook, 'is London gal, so as he could marry the other with it. It
worried 'im all the way home, and by the time we got into the London
river 'is head was all in a maze with it. Emma Cook 'ad got it all saved
up in the bank, to take a little shop with when they got spliced, and 'ow
to get it he could not think.

He went straight off to Poplar, where she lived, as soon as the ship was
berthed. He walked all the way so as to 'ave more time for thinking, but
wot with bumping into two old gentlemen with bad tempers, and being
nearly run over by a cabman with a white 'orse and red whiskers, he got
to the house without 'aving thought of anything.

They was just finishing their tea as 'e got there, and they all seemed so
pleased to see 'im that it made it worse than ever for 'im. Mrs. Cook,
who 'ad pretty near finished, gave 'im her own cup to drink out of, and
said that she 'ad dreamt of 'im the night afore last, and old Cook said
that he 'ad got so good-looking 'e shouldn't 'ave known him.

"I should 'ave passed 'im in the street," he ses. "I never see such an

"They'll be a nice-looking couple," ses his wife, looking at a young
chap, named George Smith, that 'ad been sitting next to Emma.

Charlie Tagg filled 'is mouth with bread and butter, and wondered 'ow he
was to begin. He squeezed Emma's 'and just for the sake of keeping up
appearances, and all the time 'e was thinking of the other gal waiting
for 'im thousands o' miles away.

"You've come 'ome just in the nick o' time," ses old Cook; "if you'd done
it o' purpose you couldn't 'ave arranged it better."

"Somebody's birthday?" ses Charlie, trying to smile.

Old Cook shook his 'ead. "Though mine is next Wednesday," he ses, "and
thank you for thinking of it. No; you're just in time for the biggest
bargain in the chandlery line that anybody ever 'ad a chance of. If you
'adn't ha' come back we should have 'ad to ha' done it without you."

"Eighty pounds," ses Mrs. Cook, smiling at Charlie. "With the money
Emma's got saved and your wages this trip you'll 'ave plenty. You must
come round arter tea and 'ave a look at it."

"Little place not arf a mile from 'ere," ses old Cook. "Properly worked
up, the way Emma'll do it, it'll be a little fortune. I wish I'd had a
chance like it in my young time."

He sat shaking his 'ead to think wot he'd lost, and Charlie Tagg sat
staring at 'im and wondering wot he was to do.

"My idea is for Charlie to go for a few more v'y'ges arter they're
married while Emma works up the business," ses Mrs. Cook; "she'll be all
right with young Bill and Sarah Ann to 'elp her and keep 'er company
while he's away."

"We'll see as she ain't lonely," ses George Smith, turning to Charlie.

Charlie Tagg gave a bit of a cough and said it wanted considering. He
said it was no good doing things in a 'urry and then repenting of 'em all
the rest of your life. And 'e said he'd been given to understand that
chandlery wasn't wot it 'ad been, and some of the cleverest people 'e
knew thought that it would be worse before it was better. By the time
he'd finished they was all looking at 'im as though they couldn't believe
their ears.

"You just step round and 'ave a look at the place," ses old Cook; "if
that don't make you alter your tune, call me a sinner."

Charlie Tagg felt as though 'e could ha' called 'im a lot o' worse things
than that, but he took up 'is hat and Mrs. Cook and Emma got their
bonnets on and they went round.

"I don't think much of it for eighty pounds," ses Charlie, beginning his
artfulness as they came near a big shop, with plate-glass and a double

"Eh?" ses old Cook, staring at 'im. "Why, that ain't the place. Why,
you wouldn't get that for eight 'undred."

"Well, I don't think much of it," ses Charlie; "if it's worse than that I
can't look at it--I can't, indeed."

"You ain't been drinking, Charlie?" ses old Cook, in a puzzled voice.

"Certainly not," ses Charlie.

He was pleased to see 'ow anxious they all looked, and when they did come
to the shop 'e set up a laugh that old Cook said chilled the marrer in
'is bones. He stood looking in a 'elpless sort o' way at his wife and
Emma, and then at last he ses, "There it is; and a fair bargain at the

"I s'pose you ain't been drinking?" ses Charlie.

"Wot's the matter with it?" ses Mrs. Cook flaring up.

"Come inside and look at it," ses Emma, taking 'old of his arm.

"Not me," ses Charlie, hanging back. "Why, I wouldn't take it at a

He stood there on the kerbstone, and all they could do 'e wouldn't budge.
He said it was a bad road and a little shop, and 'ad got a look about it
he didn't like. They walked back 'ome like a funeral procession, and
Emma 'ad to keep saying "_H's!_" in w'ispers to 'er mother all the way.

[Illustration: "He said it was a had road and a little shop, and 'ad got
a look about it he didn't like."]

"I don't know wot Charlie does want, I'm sure," ses Mrs. Cook, taking off
'er bonnet as soon as she got indoors and pitching it on the chair he was
just going to set down on.

"It's so awk'ard," ses old Cook, rubbing his 'cad. "Fact is, Charlie, we
pretty near gave 'em to understand as we'd buy it."

"It's as good as settled," ses Mrs. Cook, trembling all over with temper.

"They won't settle till they get the money," ses Charlie. "You may make
your mind easy about that."

"Emma's drawn it all out of the bank ready," ses old Cook, eager like.

Charlie felt 'ot and cold all over. "I'd better take care of it," he
ses, in a trembling voice. "You might be robbed."

"So might you be," ses Mrs. Cook. "Don't you worry; it's in a safe

"Sailormen are always being robbed," ses George Smith, who 'ad been
helping young Bill with 'is sums while they 'ad gone to look at the shop.
"There's more sailormen robbed than all the rest put together."

"They won't rob Charlie," ses Mrs. Cook, pressing 'er lips together.
"I'll take care o' that."

Charlie tried to laugh, but 'e made such a queer noise that young Bill
made a large blot on 'is exercise-book, and old Cook, wot was lighting
his pipe, burnt 'is fingers through not looking wot 'e was doing.

"You see," ses Charlie, "if I was robbed, which ain't at all likely, it
'ud only be me losing my own money; but if you was robbed of it you'd
never forgive yourselves."

"I dessay I should get over it," ses Mrs. Cook, sniffing. "I'd 'ave a
try, at all events."

Charlie started to laugh agin, and old Cook, who had struck another
match, blew it out and waited till he'd finished.

"The whole truth is," ses Charlie, looking round, "I've got something
better to do with the money. I've got a chance offered me that'll make
me able to double it afore you know where you are."

"Not afore I know where I am," ses Mrs. Cook, with a laugh that was worse
than Charlie's.

"The chance of a lifetime," ses Charlie, trying to keep 'is temper. "I
can't tell you wot it is, because I've promised to keep it secret for a
time. You'll be surprised when I do tell you."

"If I wait till then till I'm surprised," ses Mrs. Cook, "I shall 'ave to
wait a long time. My advice to you is to take that shop and ha' done
with it."

Charlie sat there arguing all the evening, but it was no good, and the
idea o' them people sitting there and refusing to let 'im have his own
money pretty near sent 'im crazy. It was all 'e could do to kiss Emma
good-night, and 'e couldn't have 'elped slamming the front door if he'd
been paid for it. The only comfort he 'ad got left was the Sydney gal's
photygraph, and he took that out and looked at it under nearly every
lamp-post he passed.

He went round the next night and 'ad an-other try to get 'is money, but
it was no use; and all the good he done was to make Mrs. Cook in such a
temper that she 'ad to go to bed before he 'ad arf finished. It was no
good talking to old Cook and Emma, because they daren't do anything
without 'er, and it was no good calling things up the stairs to her
because she didn't answer. Three nights running Mrs. Cook went off to
bed afore eight o'clock, for fear she should say something to 'im as
she'd be sorry for arterwards; and for three nights Charlie made 'imself
so disagreeable that Emma told 'im plain the sooner 'e went back to sea
agin the better she should like it. The only one who seemed to enjoy it
was George Smith, and 'e used to bring bits out o' newspapers and read to
'em, showing 'ow silly people was done out of their money.

On the fourth night Charlie dropped it and made 'imself so amiable that
Mrs. Cook stayed up and made 'im a Welsh rare-bit for 'is supper, and
made 'im drink two glasses o' beer instead o' one, while old Cook sat and
drank three glasses o' water just out of temper, and to show that 'e
didn't mind. When she started on the chandler's shop agin Charlie said
he'd think it over, and when 'e went away Mrs. Cook called 'im her
sailor-boy and wished 'im pleasant dreams.

But Charlie Tagg 'ad got better things to do than to dream, and 'e sat up
in bed arf the night thinking out a new plan he'd thought of to get that
money. When 'e did fall asleep at last 'e dreamt of taking a little farm
in Australia and riding about on 'orseback with the Sydney gal watching
his men at work.

In the morning he went and hunted up a shipmate of 'is, a young feller
named Jack Bates. Jack was one o' these 'ere chaps, nobody's enemy but
their own, as the saying is; a good-'arted, free-'anded chap as you could
wish to see. Everybody liked 'im, and the ship's cat loved 'im. He'd
ha' sold the shirt off 'is back to oblige a pal, and three times in one
week he got 'is face scratched for trying to prevent 'usbands knocking
their wives about.

Charlie Tagg went to 'im because he was the only man 'e could trust, and
for over arf an hour he was telling Jack Bates all 'is troubles, and at
last, as a great favour, he let 'im see the Sydney gal's photygraph, and
told him that all that pore gal's future 'appiness depended upon 'im.

"I'll step round to-night and rob 'em of that seventy-two pounds," ses
Jack; "it's your money, and you've a right to it."

Charlie shook his 'ead. "That wouldn't do," he ses; "besides, I don't
know where they keep it. No; I've got a better plan than that. Come
round to the Crooked Billet, so as we can talk it over in peace and

He stood Jack three or four arf-pints afore 'e told 'im his plan, and
Jack was so pleased with it that he wanted to start at once, but Charlie
persuaded 'im to wait.

"And don't you spare me, mind, out o' friendship," ses Charlie, "because
the blacker you paint me the better I shall like it."

"You trust me, mate," ses Jack Bates; "if I don't get that seventy-two
pounds for you, you may call me a Dutchman. Why, it's fair robbery, I
call it, sticking to your money like that."

They spent the rest o' the day together, and when evening came Charlie
went off to the Cooks'. Emma 'ad arf expected they was going to a
theayter that night, but Charlie said he wasn't feeling the thing, and he
sat there so quiet and miserable they didn't know wot to make of 'im.

"'Ave you got any trouble on your mind, Charlie," ses Mrs. Cook, "or is
it the tooth-ache?"

"It ain't the toothache," ses Charlie.

He sat there pulling a long face and staring at the floor, but all Mrs.
Cook and Emma could do 'e wouldn't tell them wot was the matter with 'im.
He said 'e didn't want to worry other people with 'is troubles; let
everybody bear their own, that was 'is motto. Even when George Smith
offered to go to the theayter with Emma instead of 'im he didn't fire up,
and, if it 'adn't ha' been for Mrs. Cook, George wouldn't ha' been sorry
that 'e spoke.

"Theayters ain't for me," ses Charlie, with a groan. "I'm more likely to
go to gaol, so far as I can see, than a theayter."

Mrs. Cook and Emma both screamed and Sarah Ann did 'er first
highstericks, and very well, too, considering that she 'ad only just
turned fifteen.

"Gaol!" ses old Cook, as soon as they 'ad quieted Sarah Ann with a bowl
o' cold water that young Bill 'ad the presence o' mind to go and fetch.
"Gaol! What for?"

"You wouldn't believe if I was to tell you." ses Charlie, getting up to
go, "and besides, I don't want any of you to think as 'ow I am worse than
wot I am."

He shook his 'cad at them sorrowful-like, and afore they could stop 'im
he 'ad gone. Old Cook shouted arter 'im, but it was no use, and the
others was running into the scullery to fill the bowl agin for Emma.

Mrs. Cook went round to 'is lodgings next morning, but found that 'e was
out. They began to fancy all sorts o' things then, but Charlie turned up
agin that evening more miserable than ever.

"I went round to see you this morning," ses Mrs. Cook, "but you wasn't at

"I never am, 'ardly," ses Charlie. "I can't be--it ain't safe."

"Why not?" ses Mrs. Cook, fidgeting.

"If I was to tell you, you'd lose your good opinion of me," ses Charlie.

"It wouldn't be much to lose," ses Mrs. Cook, firing up.

Charlie didn't answer 'er. When he did speak he spoke to the old man,
and he was so down-'arted that 'e gave 'im the chills a'most, He 'ardly
took any notice of Emma, and, when Mrs. Cook spoke about the shop agin,
said that chandlers' shops was for happy people, not for 'im.

By the time they sat down to supper they was nearly all as miserable as
Charlie 'imself. From words he let drop they all seemed to 'ave the idea
that the police was arter 'im, and Mrs. Cook was just asking 'im for wot
she called the third and last time, but wot was more likely the hundred
and third, wot he'd done, when there was a knock at the front door, so
loud and so sudden that old Cook and young Bill both cut their mouths at
the same time.

"Anybody 'ere o' the name of Emma Cook?" ses a man's voice, when young
Bill opened the door.

"She's inside," ses the boy, and the next moment Jack Bates followed 'im
into the room, and then fell back with a start as 'e saw Charlie Tagg.

"Ho, 'ere you are, are you?" he ses, looking at 'im very black.
"Wot's the matter?" ses Mrs. Cook, very sharp.

"I didn't expect to 'ave the pleasure o' seeing you 'ere, my lad," ses
Jack, still staring at Charlie, and twisting 'is face up into awful
scowls. "Which is Emma Cook?"

"Miss Cook is my name," ses Emma, very sharp. "Wot d'ye want?"

"Very good," ses Jack Bates, looking at Charlie agin; "then p'r'aps
you'll do me the kindness of telling that lie o' yours agin afore this
young lady."

"It's the truth," ses Charlie, looking down at 'is plate.

"If somebody don't tell me wot all this is about in two minutes, I shall
do something desprit," ses Mrs. Cook, getting up.

"This 'ere--er--man," ses Jack Bates, pointing at Charlie, "owes me
seventy-five pounds and won't pay. When I ask 'im for it he ses a party
he's keeping company with, by the name of Emma Cook, 'as got it, and he
can't get it."

"So she has," ses Charlie, without looking up.

"Wot does 'e owe you the money for?" ses Mrs. Cook.

"'Cos I lent it to 'im," ses Jack.

"Lent it? What for?" ses Mrs. Cook.

"'Cos I was a fool, I s'pose," ses jack Bates; "a good-natured fool.
Anyway, I'm sick and tired of asking for it, and if I don't get it
to-night I'm going to see the police about it."

He sat down on a chair with 'is hat cocked over one eye, and they all sat
staring at 'im as though they didn't know wot to say next.

"So this is wot you meant when you said you'd got the chance of a
lifetime, is it?" ses Mrs. Cook to Charlie. "This is wot you wanted it
for, is it? Wot did you borrow all that money for?"

"Spend," ses Charlie, in a sulky voice.

"Spend!" ses Mrs. Cook, with a scream; "wot in?"

"Drink and cards mostly," ses Jack Bates, remembering wot Charlie 'ad
told 'im about blackening 'is character.

You might ha' heard a pin drop a'most, and Charlie sat there without
saying a word.

"Charlie's been led away," ses Mrs. Cook, looking 'ard at Jack Bates. "I
s'pose you lent 'im the money to win it back from 'im at cards, didn't

"And gave 'im too much licker fust," ses old Cook. "I've 'eard of your
kind. If Charlie takes my advice 'e won't pay you a farthing. I should
let you do your worst if I was 'im; that's wot I should do. You've got a
low face; a nasty, ugly, low face."

"One o' the worst I ever see," ses Mrs. Cook. "It looks as though it
might ha' been cut out o' the Police News."

"'Owever could you ha' trusted a man with a face like that, Charlie?" ses
old Cook. "Come away from 'im, Bill; I don't like such a chap in the

Jack Bates began to feel very awk'ard. They was all glaring at 'im as
though they could eat 'im, and he wasn't used to such treatment. And, as
a matter o' fact, he'd got a very good-'arted face.

"You go out o' that door," ses old Cook, pointing to it. "Go and do your
worst. You won't get any money 'ere."

"Stop a minute," ses Emma, and afore they could stop 'er she ran
upstairs. Mrs. Cook went arter 'er and 'igh words was heard up in the
bedroom, but by-and-by Emma came down holding her head very 'igh and
looking at Jack Bates as though he was dirt.

"How am I to know Charlie owes you this money?" she ses.

Jack Bates turned very red, and arter fumbling in 'is pockets took out
about a dozen dirty bits o' paper, which Charlie 'ad given 'im for
I O U's. Emma read 'em all, and then she threw a little parcel on the

"There's your money," she ses; "take it and go."

Mrs. Cook and 'er father began to call out, but it was no good.

"There's seventy-two pounds there," ses Emma, who was very pale; "and
'ere's a ring you can have to 'elp make up the rest." And she drew
Charlie's ring off and throwed it on the table. "I've done with 'im for
good," she ses, with a look at 'er mother.

Jack Bates took up the money and the ring and stood there looking at 'er
and trying to think wot to say. He'd always been uncommon partial to the
sex, and it did seem 'ard to stand there and take all that on account of
Charlie Tagg.

"I only wanted my own," he ses, at last, shuffling about the floor.

"Well, you've got it," ses Mrs. Cook, "and now you can go."

"You're pi'soning the air of my front parlour," ses old Cook, opening the
winder a little at the top.

"P'r'aps I ain't so bad as you think I am," ses Jack Bates, still looking
at Emma, and with that 'e walked over to Charlie and dumped down the
money on the table in front of 'im. "Take it," he ses, "and don't borrow
any more. I make you a free gift of it. P'r'aps my 'art ain't as black
as my face," he ses, turning to Mrs. Cook.

They was all so surprised at fust that they couldn't speak, but old Cook
smiled at 'im and put the winder up agin. And Charlie Tagg sat there arf
mad with temper, locking as though 'e could eat Jack Bates without any
salt, as the saying is.

"I--I can't take it," he ses at last, with a stammer.

"Can't take it? Why not?" ses old Cook, staring. "This gentleman 'as
given it to you." "A free gift," ses Mrs. Cook, smiling at Jack
very sweet.

"I can't take it," ses Charlie, winking at Jack to take the money up and
give it to 'im quiet, as arranged. "I 'ave my pride."

"So 'ave I," ses Jack. "Are you going to take it?"

Charlie gave another look. "No," he ses, "I cant take a favour. I
borrowed the money and I'll pay it back.

"Very good," ses Jack, taking it up. "It's my money, ain't it?"

"Yes," ses Charlie, taking no notice of Mrs. Cook and 'er husband, wot
was both talking to 'im at once, and trying to persuade 'im to alter his

"Then I give it to Miss Emma Cook," ses Jack Bates, putting it into her
hands. "Good-night everybody and good luck."

He slammed the front door behind 'im and they 'eard 'im go off down the
road as if 'e was going for fire-engines. Charlie sat there for a moment
struck all of a heap, and then 'e jumped up and dashed arter 'im. He
just saw 'im disappearing round a corner, and he didn't see 'im agin for
a couple o' year arterwards, by which time the Sydney gal had 'ad three
or four young men arter 'im, and Emma, who 'ad changed her name to Smith,
was doing one o' the best businesses in the chandlery line in Poplar.


***** This file should be named 11183.txt or *****
This and all associated files of various formats will be found in:

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
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



(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

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
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.

agree to be bound by the terms of this agreement. There are a few
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

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
Gutenberg-tm mission of promoting free access to electronic works by
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

1.E.1. The following sentence, with active links to, or other immediate
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

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
through 1.E.7 or obtain permission for the use of the work and the

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

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
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

1.E.7. Do not charge a fee for access to, viewing, displaying,

1.E.8. You may charge a reasonable fee for copies of or providing

- You pay a royalty fee of 20% of the gross profits you derive from
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
- 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
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
- 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
forth in this agreement, you must obtain permission in writing from
Foundation as set forth in Section 3 below.


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.

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

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

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
that arise directly or indirectly from any of the following which you do

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
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at

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
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at

For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director

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

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.

ways including including checks, online payments and credit card
donations. To donate, please visit:

with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

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:

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.

(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:

or filename 24689 would be found at:

An alternative method of locating eBooks:


Back to Full Books