THE END He crushed them in his, then bent his head and kissed them. Page 102 . — Rosemary. He crushed them in his, then bent his head and kissed them; first the girlish right hand, then the left. But she saw his face contract as he caught the gleam of her wedding ring. As he looked up, their eyes met again, and each knew what was in the other's mind. "Angel, dearest," said Rosemary, "do tell the fairy father you're glad to see him." Evelyn started. "Why do you call him that?" "Because he said he was a fairy, and would have to vanish soon. But you'll beg him not to, won't you?" "I—I should be sorry to lose him again. We haven't many friends, in these days." The bright head was bowed over the child's, as Rosemary clung to her mother's dress. "You never lost me," said Hugh Egerton. "It was I who lost you. Evie, you don't know what black years these have been. I loved you so." "But that—was—long ago." "It was always." "Hugh! I thought you must have learned to hate me." "Hate you, because I couldn't make you care for me as—I hoped you would, and because you cared for someone else? No, I—" "But—I did care for you. It was for my father's sake that—that—ah, I can't talk of it, Hugh. You know, we were so poor after father lost his money, I tried with all my heart to forget, and to do my best for—my husband. Perhaps it was my punishment that he—oh, Hugh, I was so miserable. And then—then he went away. He was tired of me. He was on a yacht, and there was a great storm. But you must have read in the papers—" "Never. I never knew till this day." "It was more than three years ago." Hugh was very pale. Three years ago—three long years in which he had worked, and tried not to think of her! And if he had known—"You see, I've had a queer life, knocking about in strange places," he said, trying to speak calmly. "Often I didn't see any newspapers for weeks together. I thought of you always as rich and happy, living in England, the wife of Sir Edward Clifford—" "Rich and happy," she repeated, bitterly. "How little one knows of another's life. After his death, there was nothing—there had been some wild speculations; and the estates went with the title, of course, to his cousin. But, yes,—in a way you were right. I was rich and happy because I had Rosemary." "And Rosemary had you, Angel," cried the child, who had been listening, puzzled and bewildered, not knowing that they had forgotten her presence until this moment. "Rosemary had you. And now we've all got each other—till the fairy father vanishes." "But I shan't have to vanish after all," said Hugh. After that, it seemed they had been together but for a moment, when a wild wail went moaning through the house; the first gong for the pensionnaires' dinner. So loud it was that it hushed their voices for a long minute. And when cool silence came again, Hugh begged that the two would have their Christmas Eve dinner with him, at his hotel. "There's so much to plan for to-morrow, and all the days," he pleaded. "And just for once Rosemary shall have a late dinner like the grown-ups. Do say yes." So Evelyn said yes. And it was not until they were all three seated in the restaurant of the Hotel de Paris, that he remembered he had been engaged to dine at the Beau Soleil with Mademoiselle and the Comtesse, her mother. But he did not even blush because he had forgotten. WHEN A MAN GOES SHOPPING any of Hugh Egerton's best moments during the last six years had been spent in dreams. In those dreams the past had lived again; for he had seen the future as once he had hoped it might be for him. But all through this night of Christmas Eve he lay awake; and no dreams had ever been as half as sweet as the thoughts that came to him then. It would have been a hideous waste of time to sleep, when he could lie there and live over again each moment of his evening, beginning at the beginning, when She had come into the room, and going on to the end when he had brought her and Rosemary to the door of the Hotel Pension Beau Soleil, to say "goodbye until to-morrow." When he came to the end, he went back to the beginning again with renewed zest, trying to call up some word, some look of hers which he might have neglected to count among his treasured jewels. Then, when he was sure that he had each pearl and ruby and diamond duly polished and strung on the fine gold chain of loving memory, he would let his mind run ahead of time, to the next day. What a Christmas it was going to be! There never had been one like it before, in the history of the world; but—the best of it was—there was reason to hope that there would be many others to come just as exquisite, if not more perfect. Evelyn Clifford had loved him, even when she had let him go. She loved him now; and she had promised to make up for the long grey years of the past by marrying him almost at once. There was nothing to wait for. He was lonely and rich. She was lonely and poor. Both were young, and starving for happiness. In a week they would be married, for she had promised to begin the New Year as his wife. Meanwhile, there would be a great deal to do (so she said, though he could not see why) in getting ready. But Christmas was to be a holiday. They were going on that picnic to Éze, all three. That was already planned; but Hugh had mentally made an addition to the plan, of which he had said not a word. He was as excited over the thought of this plan as Rosemary would have been had she known. And lest there should be a hitch, or he should not have time to accomplish all, he was out of bed by half past six—that mysterious hour of dawn when across the glimmering sea Corsica can be seen, floating like a heaped basket of violets in waves of transparent gold. Last night he had anxiously enquired of the concierge whether the Monte Carlo shops would be open on Christmas morning, and had been informed that they would. Otherwise, Hugh Egerton would have been capable of battering down the doors, helping himself to the things he wanted, and leaving enough money to pay for damages as well as purchases. After all, he was ready long before the shutters of those attractive plate glass windows were taken away; but he was not sorry for that. He had the joy of walking down to the Condamine and gazing up at other windows far more attractive, and saying to the closed green blinds, "Merry Christmas, merry Christmas, my darling—mine for always, now!" Then he darted back to rolls and coffee; beamed on the waiters, gave them fat five franc pieces merely for beaming in return; and arrived in the Galerie Charles Trois just as the shop windows were opening radiant Christmas eyes. The first visit he paid was to the florist's; and to save time in choosing he simply said, "I'll take all those things you have in the window, please." There were about two hundred francs worth of roses, the same of white lilacs, and enough lilies of the valley, nestling in baby leaves of yellow green, to clean out any save a well-filled pocket book; but that was all the better. The more he could spend to-day, the more was Hugh Egerton pleased. He gave "Madame Clifford's" address, and wrote something in English on his visiting card. The flowers were to go at once; at once, mind; not in fifteen minutes, but now, this very now. "How much in love is that handsome young Monsieur!" thought the Mademoiselle of the shop, with a little sigh for some of the wonders of the world which she had missed, and must always miss. Her heels were appallingly high, and her waist was incredibly small; but she had a heart; and there was no heart which would not have softened to Hugh, and wished him the best of good luck, this day. The next window which attracted the young man's eye, was one which displayed just such a dress as he had vaguely pictured yesterday, for a dear companion on the terrace. It was white, of course; and he was not sure, but he thought it was made of cloth. Anyway there was a lot of embroidery on it, full of little holes, which somehow contrived to be extraordinarily fetching. It had a mantle which hung in soft folds, marvellously intricate, yet simple in effect; and he could have fallen upon the neck of the stout, powdered lady in black silk who assured him that the costume could be worn without alteration by any " dame de jolie taille ." He bought it instantly, and then seized upon precisely such a "long white thing" of ermine as he had seen in his mind's eye. A "granny" muff went with it. (Really the people of the shop must have had prophetic souls!) And there was a white hat, with a gold buckle and a long white ostrich feather which looked as if it had been born to shade the face of Evelyn Clifford. When these "confections" had been secured, Madame of the black satin and powdered nose assured Monsieur that his Christmas purchases would be incomplete without a certain blouse which, to an untutored eye, appeared to be a combination of sea-foam and rose-leaves. There was a belt, too, crusted with seed pearls; and a hanging bag to match. Oh, certainly Monsieur would take these, and anything else which Madame could conscientiously recommend. She could, and did, recommend several other things; and no doubt it was a mere coincidence that they happened to be among the most expensive in the shop. She also won Hugh's gratitude by being able to produce a coat and a frock in which a little girl of five, already beautiful, would be more akin to fairyhood than ordinary childhood, and might become the "exception that would prove the rule" to an unbelieving Jane. The cloak was pale blue; and another shop had to be searched for a hat to be worn with it, but Madame was most kind in directing Monsieur where to find one. Her sister would serve him, therefore he would be well served. On the way, he passed a jeweller's; and exactly the right string of pearls, and the right "swallow brooch" stared him in the face, in the window. It was odd, how all the prettiest things in the world, of whatever description, looked as if they ought to belong to Evelyn and Rosemary Clifford. There was a gold bag, too; but that was a detail, for really the principal thing he had called for was a ring with a single diamond in it—and perhaps—well, yes—that little sapphire band to keep it on a slender finger. The rings, in their delicate cases, he put into his pocket when he had paid; but the other purchases were to go in that very same now which had been impressed upon the florist; the sort of now to which Riviera shopkeepers are accustomed only when they deal with Americans. Then Madame's sister was found, and a blue hat; and there was just time left for a frantic rush to a toyshop, round a corner and up a hill. Perhaps Doll Evie might be jealous of one rival, but there's safety in numbers; and Hugh thought that a dozen assorted sizes, from life-size down, would keep a doll's house from echoing with loneliness. As for the presents for the Éze children, Rosemary was to choose them herself by and by; but all these special things were to be served up, so to speak, at the Hotel Pension Beau Soleil with early breakfast. When he had finished,—which means, when he had bought everything he could think of—Hugh looked at his watch. It was half an hour to the minute since he had left his hotel. "I don't see why it should take women a long time to shop," said he to himself. "It seems to me the simplest thing in the world. You just see what you want, and then you buy it." It was not until all the boxes and parcels must have arrived in the Condamine, that an agonizing thought struck Hugh. What if Evie should be offended with him for buying her things to wear? What if she should imagine him capable of thinking that the things she already had were not good enough when she was coming out with him? He suddenly felt a hundred years old. "Ass—worm—menagerie!" he anathematized himself. It was now nine thirty. At ten forty-five he was to call at the Hotel Pension Beau Soleil, to take Evelyn and Rosemary to the English church. How could he bear the suspense till then,—how endure it not to know whether he had ruined the Christmas which was to have been so perfect? He dashed into his own hotel, wrote five notes one after the other, tearing up each one before it was finished. It was no good explaining. If she didn't understand nothing would make her. But would she understand? He knew now why some women said that all men were fools. They were quite right. If he had dared, he would have gone to her at once, to be put out of his misery, one way or the other. But he did not dare; so he waited, until he had persuaded himself that not only his watch, but the hotel clock and the Casino clock must be slow. Then he started, and suffered five suffocating minutes in the public sitting-room of the Beau Soleil. It was a hideous room, with abominable flowers sprawling over the wall paper and carpet, and all the windows were shut, but he did not notice these things; nor did he recognise the heavy scent that hung in the air as that which Mademoiselle de Lavalette affected. The lady of the roses had ceased to exist for him; but, if he had thought of her at all, he would have been glad that he had opened her pink leather bag when it was thin, and shut it up when it was very fat. At the end of the five minutes, the door opened, and gave to his eyes a vision; Evelyn and Rosemary in their new dresses and new hats. It was all he could do to keep from crying "Thank Heaven," and to say a mere "Merry Christmas" instead. "Wicked, extravagant Boy," exclaimed Evelyn. "Do you know, we are most unsuitably dressed? But we had to put the things on, hadn't we? It was wrong of you to buy them, but—don't look so terrified—it was sweet, too; and I know just the feeling that prompted you to do it. What a dream-Christmas this is going to be." And then she and Rosemary thanked him separately, for each individual thing he had given. It took some time, and they were nearly late for Church, but not quite. If Mademoiselle de Lavalette had been look ing out of her window at a certain moment she would have been exceedingly surprised, not only by the transformation of Madame Clifford and la petite bête from church mice into visions, but still more by the sight of their companion. But hot rage and cold disappointment had given her a bad night. She had expected a guest for dinner. She had put on her prettiest frock, and had forbidden her mother the Comtesse to paint. She had ordered champagne, an extra entrée, and a bunch of flowers for the table. Yet the guest had neither come nor sent an excuse. She had stopped in the house all the evening, thinking that he might have been detained by an accident to his automobile; but the hours had dragged on emptily. Nothing happened except a bad headache, and a quarrel with her mother, who was ungratefully inclined to be sarcastic at her expense. Half the night Mademoiselle had lain awake, wondering why the bird had not come hopping into the trap; and through the other half she had wondered anxiously if the bird would come to-morrow, with excuses which she might graciously accept. At last she had fallen asleep and dreamed ecstatic dreams about diamond necklaces and thousand franc notes. When the procession of three left the Beau Soliel on its way to the English Church, strings of diamonds were still being drawn through Mademoiselle's head, charming though wreathed with patent curling pins. It was half past eleven when she was waked by the Comtesse ringing for petits pains and chocolate. A toilette was hastily made, without too much time being wasted on water; and Mademoiselle,—all in black and white this morning, like a jeune fille in second mourning,—hurried out to walk on the terrace at the fashionable hour. If she did not find the truant there, she said to herself, she would go into the Casino; for he was sure to be in one place or the other at this time of day, even though it was Christmas. She walked a little, but not much; for her high-heeled shoes were tight, and made her feel even more annoyed with the world and everyone in it—except herself—than she had been before she started. Presently she sat down on one of the green benches, and arranged a "peace on earth, goodwill to men" expression which pinched her lips almost as painfully as her shoes pinched her toes. She wore it unremittingly, nevertheless, even though many of the women who passed her, walking on the terrace, were prettier and younger and better dressed than she, and—more grievous still—were accompanied by agreeable looking men, while she sat alone scarcely glanced at by the promenaders. She had just begun to think that she had better try the Casino, when down the steps from the upper terrace came three figures. There was something familiar about them all, but to see them together made them more than strange. Besides, the two she knew best were strange in another way. Their habit was to be shabby, though neat; now, there was no one on the terrace as beautifully dressed as this tall young woman and the slim little girl. No, it couldn't be Madame Clifford and her petit choux ; and yet—and yet—as they came nearer, near enough for Mademoiselle to recognise the man with them, she felt a horrid sensation as if something which she called her heart were dropping out of her bosom from sheer heaviness, leaving a vacuum. They came nearer, near enough for Mademoiselle to recognize the man with them. Page 124 . — Rosemary. Hardly knowing what she did, she sprang up from her bench while they were still far off, and began walking towards them. There was a queer, singing noise in her head, and a feeling as if the skin were too tightly stretched across her forehead. Still, she smiled, and winked her long lashes to keep her eyes moist and soft. The sun was on Evelyn Clifford's hair, burnishing it to a halo of gold under the white hat. She looked radiantly beautiful, and as happy as if her soul were singing a Christmas Carol. On the face of Hugh Egerton was a look which no woman could mistake, least of all such a woman as Julie de Lavalette; and it was not for her, never would be for her. Now she knew why her expected guest had not come last night, or remembered to send an excuse. Sick with jealousy and spite, she bowed as she passed, trying to look eighteen, and tenderly reproachful. Her bow was returned, indifferently by Evelyn, but by Hugh with eyes of steel, and a mouth of bronze. If he had cut her, he would have shown less contempt than in that stiff raising of the hat. Julie turned and walked straight down to the Condamine, forgetting that her shoes were tight. THE LAST WORD OF MADEMOISELLE osemary chose the toys for the children of the rock village, and then the "picnic" began. The car whizzed them up the zigzag road to La Turbie, while the noon sunshine still gilded Caesar's Trophy. They lunched in the Moorish restaurant, and then sped on along the Upper Corniche, with a white sea of snow mountains billowing away to the right, and a sea of sapphire spreading to the horizon, on their left. Out from orange groves and olives they saw the hill of Éze rising like a horn; while on its almost pointed apex, the old town hung like some carved fetish, to keep away the witches. The car swooped down, and up again; but half way up the rocky horn the wide white road turned into a stone paved mule path, old as the Romans. Evelyn and Rosemary climbed hand in hand, singing a Christmas carol, while Hugh carried the two huge baskets filled with toys, and sweets in little packets. Some small sentinel perched on high (perhaps hidden among the ruins of that fortress-castle where once the temple of Isis stood) must have spied the odd procession; for as the tall white girl and the little blue one, with the brown young man, reached the last step of the steep mule path, a tidal wave of children swept down upon them, out from the mystery of dark tunnelled streets. Such eyes were never seen as those that gleamed at the new comers, great with surprise and wonder; eyes of brown velvet with diamonds shining through; eyes like black wells, with mirrored stars in their unfathomed depths; eyes of wild deer; eyes of fierce Saracens; eyes of baby saints, all set in small bronze faces clear-cut as the profiles on ancient Roman coins. "Bella Madonna, bella Madonna!" piped a tiny voice, and forty other voices caught up the adoring cry. The brown children of the old rock village had poured down from their high eyrie to bombard the strangers from the world below; to stare, to beg, to laugh, to lisp out strange epithets in their crude patois ; but at sight of the wonderful white lady and her gold-haired child they crowded back upon each other, hushed after their first cry into awed admiration for visitants from another world. Few tourists climbed to their dark fastness, and of those who came none had ever shone with such blinding radiance of white and gold. It was certain that the lovely lady was none other than the Madonna herself, and the child she had brought was some baby angel. The man alone was mortal. He had perhaps been bidden to show la bella Madonna the way to Éze. Rosemary, shy but happy, began giving out the toys, diving with both hands at once into the baskets which the fairy father held. Trumpets, bags of marbles, tops and furry animals for the boys, according to their age; (oh, Rosemary was a good judge, and never hesitated once!) Dolls for the girls, dolls by the dozen, dolls by the legion; and sweets for all. As the amazed children received their gifts, they fell respectfully back, as if they had received an order to give place to their companions, and others came forward, open mouthed, large eyed, ready to fall upon their knees if but one of their number should set an example. Still there were toys left, toys in abundance; the wondrous benefactors passed slowly on, always going up, up into the huddled village streets—tunnelled in rock or arched with stone, where eager, astonished faces peered from the mystery of shadowed doorways, and the hum of joy and admiration swelled to a sound like the murmur of the sea. Of grown folk there were not many. A few mothers with brown babies in their arms; a few mumbling crones, and bent old men with faces like strange masks; but the flow of children never ceased. As the children of Hamlin followed the Pied Piper to the sea, so the black browed children of Éze followed the Christmas visitors from crooked street to crooked street, up to the castle ruins and back again. They did not shout as they took their gifts; but still the murmur ran from mouth to mouth: "Bella Madonna, bella Madonna." At the end of an enchanted hour, when there was not a child in Éze who had not both hands full, the benefactors turned to go, with empty baskets. Massed on the plateau above the mule-path, the whole population of the village stood to watch them down the steep descent. As they went, the church bells of Éze boomed out, calling all pious souls, young and old, to vespers; and as if the loosened tongues of the bells loos ened also the tongues of the children, at last there arose a cry. "Come again, Bella Madonna and little angel, come again. We shall pray to see you next Christmas Day, Bella Madonna and little angel. Don't forget, next Christmas Day." "I'm perfectly happy, dearest," said Rosemary, when once more they sat in the car, spinning back from the shaded eyrie to the fair world where the sunshine lay. The others did not speak, but the same thought was in their hearts. When you are positively bursting with happiness the best outlet for the surplus quantity is to benefit somebody else; and there is no time like Christmas for a successful experiment. "What else can we do for somebody?" asked Hugh. "There's Jane," suggested Rosemary. "I told her this morning how I went out and found a father, and she said Pooh, he was all in my eye; and besides she'd never heard of fathers growing on blackberry bushes. But if we bought her a present, and you gave it to her yourself, she'd have to believe in you." "I shan't feel I have a sure hold on existence until she does," said Hugh. "Let's buy her something without the loss of a moment." So they bought Jane a ring, which Rosemary chose herself after mature deliberation, and with due regard to the recipient's somewhat pronounced taste in colours. "She admires red and green together more than anything," said the child, "and I want her to have what she really likes, because if it hadn't been for her I shouldn't have known Christmas Eve was the time to search for fa thers. Just supposing somebody else had gone out and snapped him up instead of me!" As a matter of fact somebody else had gone out, and had come very near indeed to snapping him up; but there are things which do not bear thinking of. It was Hugh's firm conviction that Destiny and not Jane, had flung Rosemary in front of his motor; but Destiny could not be rewarded and Jane could. Rosemary would be satisfied with nothing less than a formal presentation; and that the ceremony might be gone through without delay, the car was directed towards the Condamine. As they neared the street of the Hotel Pension Beau Soleil, a cab came jingling round the corner. It was occupied by two ladies who sat half buried in travelling bags, rugs, baskets, and shawl straps, such as women who are not of the Anglo Saxon races love. A tiny motorphobe in the shape of a black Pomeranian yapped viciously at the automobile as the vehicles passed each other; and though the ladies—one stout, the other slim—were thickly veiled, Rosemary cried out, "Oh, it's the Comtesse and Mademoiselle. They must be going away." Hugh said nothing, but his silence was eloquent to Evelyn, who knew now the whole story of the girl with the soft eyes. Both were pleased that this was the last of her; but neither quite knew Mademoiselle de Lavalette. She had been busy with other matters besides her packing, while la bella Madonna and her suite were collecting adorers on the heights of Éze. Evelyn and Rosemary disappeared to take off their hats before the grand presentation ceremony should begin, and Hugh had begun to occupy the time of their absence by lighting the fire with pine cones, when a cry from the beloved voice called him to the room adjoining. The door was open, and the woman and the child stood dumbfounded and overwhelmed in a scene of incredible desolation. The air was acrid with the smell of burning. Blouses, pink and green, and cream, and blue, were stirred into a seething mass in the fireplace, as in a witch's cauldron, their fluffy laces burnt and blackened. Chiffon fichus torn in ribbons strewed the carpet. An ivory fan had been trampled into fragments on the hearth-rug, and a snow-storm of feathers from a white boa had drifted over the furniture. On the wash-stand a spangled white tulle hat lay drowning in a basin half full of water. Their fluffy laces burnt and blackened. Chiffon fichus torn in ribbons strewed the carpet. Page 138 . — Rosemary. It was a sight to turn the brain of Madame in the magasin of smart "confections," nor would the presiding genius of the toy shop have gone scathless, for Rosemary's possessions had not been spared by the cyclone. Dolls had lost their wigs, their arms, their legs; and beautiful blue eyes had been poked into far recesses of porcelain heads, with ruthless scissors. Little dresses of silk and satin had been flung to feed the flames which devoured ill-starred blouses; picture books had made fine kindlings; and that proud and stately mansion which might have afforded shelter to many dolls had collapsed as if shattered by a cyclone. "Oh, Angel, is it some dreadful dream?" wailed Rosemary; and Evelyn found no answer. But Hugh had pounced upon a card pinned on the window curtain; and as he held it out, in eloquent silence, she read aloud over his shoulder; "Compliments of Mademoiselle de Lavalette." At the end of the first shocked instant, they both laughed wildly, desperately. It was the only thing to do. "After all," gasped Evelyn, "she has paid me back—what she owed me,—and Rosemary." "She's given me the pleasure of making Christmas come all over again, to-morrow, that's all," said Hugh. "Women are strange. Thank heaven, she has vanished." "But nothing matters—at least not much," said Rosemary, smiling through her tears, "since you're not going to vanish, fairy father." THE END Transcriber's Notes: Punctuation normalized. The remaining corrections made are indicated by dotted lines under the corrections. Scroll the mouse over the word and the original text will appear . *** END OF THE PROJECT GUTENBERG EBOOK ROSEMARY: A CHRISTMAS STORY *** 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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.