The Project Gutenberg eBook of Forsyte's Retreat, by Winston Marks.

[Transcriber Note: This etext was produced from IF Worlds of Science Fiction May 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

At last he was second in line. He squared his shoulders and pulled at the lower edges of his black double-breasted suitcoat to erase the travel wrinkles. The applicant ahead of him exploded the words, "Nuts! I'll leave town first. I just came from the Phony-Plaza. You can take that squirrel-cage and—"

"Next!" the employment agent called sadly. Sextus Rollo Forsyte moved up and sat in the oak chair before the oak desk and faced the oak-featured man with the jobs.

"Forsyte is the name," Sextus reminded. The man riffled through the application cards.

"Yes. Indeed. Lucky you came back. I have a fine position for you, Mr. Forsyte. Right in your line." He held out a blue slip. "The general manager's position is open at the Mahoney-Plaza. Six hundred a month, board and room. Now if you will...."

He could handle the job, all right. As he'd said on the application form, in his forty years he had managed half a dozen large hotels. But they were handing him this plum without comment on his failure to fill in the spaces marked: COMPLETE REFERENCES (names and addresses).

He shrugged. They did a lot of things different in California. The most he had hoped for was a waiter's job or maybe a short order cook in a fry joint. But if they wanted to ignore the hotel associations' black list, he wouldn't argue.

Sextus Forsyte craved anonymity with the passion that most men seek fame and glory. Beneath his suave, mature exterior beat the shrinking heart of a perennial hermit whose delight was an adventure book and a bottle of whiskey.

His recent employer had not objected to his fondness for reading nor solitude, but his appetite for liquor had revealed itself in a series of unfortunate crises which plague the life of any hotel executive.

Yes, Sextus Forsyte had sought his solitude in that remotest of all places, the large city hotel. His career of smiling at strange faces, welcoming famous people and snapping crisp commands to assistant managers had provided the near-perfect isolation from normal society. To the transient eye he was the poised, gregarious greeter. Actually he lived in a deep well of introversion. Of course, this was no affair of the succession of boards of directors who had uttered the harsh charges of "dipsomania" and fired him. But then boards of directors are never notable for their sympathy or understanding.

And finally word got around the eastern seaboard about Sextus. "A competent man, yes. Drinks on the job. Wouldn't have him as a busboy."

Worse than the mere prospect of unemployment was the notoriety. Coldly sober, Sextus had fled panic-stricken to the west coast, vaguely determined to become a beach-comber or an oyster-fisherman or whatever they did out there.

He stared now at the blue slip and turned in to a florist shop. He broke his last five-dollar bill to buy a pink carnation for his buttonhole then headed down the sunny walk to the hotel. It was a fine December morning in the little beach town, such as only Florida and California can advertise. He breathed the salt air and turned an appreciative ear to the gentle wash of the Pacific surf. He felt so good he might even take a little breakfast before his first drink of whiskey of the day.

At the bus depot he traded his baggage checks for two old, but fine leather, two-suiters. Then he taxied the remaining two blocks to the Mahoney-Plaza.

He paused at the entrance, stepped from under the marquis and looked up mystified. The frontage indicated a rather small hostelry to pay such munificent salary to its general manager. Only five stories high, it was squeezed in by low office buildings on either side like an ancient, narrow-chested old man.

He handed his bags to a bell-hop and stepped into a spacious lobby. It was decorated with fine furniture, thick carpets and throngs of expensively undressed people.

The boy put his bags down before a remarkably long room-desk manned by three white-suited clerks, but Sextus touched his arm. "Just take them up to the manager's suite, please." The boy eyed him from carnation to dusty shoes.

"Right off a park bench. It figures, though." He got a key from the desk clerk, picked up the bags again and they started for the elevator alcove.

Sextus' practiced eye vacuumed details from the lobby, the well-swept carpets, freshly emptied sand-jars and the modern elevators. The place seemed well-ordered and enjoying convention-magnitude business.

He started into the first elevator, but the operator warned, "To Wing 'A' only!" with such a question in his voice that Sextus looked back for his bellman. That person, a sandy-haired stripling of some five-feet-four, was trying to wave him on with his head.

"Not that one," he said impatiently. "Over here. Wing 'H'." Then Sextus noticed there were five elevators on either side of the alcove. Each was plainly marked with a letter, running from "A" through "J". This was a new wrinkle. Elevators were a mode of strictly vertical transportation, meaning, as a safe generality, that they travelled in parallel routes. Why, then, differentiate for separate wings when they were all grouped together in the first place?

They rode to the fourth floor in one-level leaps, stopping to unload several guests on each floor. The upper floor hall was of modest length, running fore and aft of the long, narrow building, as he had first sized it up. Where were all the wings —the wings with the separate elevators?

The boy let him into the light, airy apartment, dropped his bags in the middle of the floor and started out abruptly. Sextus called him back.

"Twenny-six hunnerd and all full for the season, so if you'll just leggo of me—"

"Very well, you have one. Check out with the captain." Sextus couldn't tolerate discourteous familiarity. Friendly familiarity was bad enough, but the "chum" did it.

Sextus opened his bag. From it he extracted a fifth of whiskey which he took to the tiled bathroom. He stripped the cellophane from a drinking glass, poured it half-full of the amber liquor and drained it.

He was in the shower when the phone rang. He dripped to the night stand with the patience of one who has soaked many a rug and discovered that they don't stain. "Forsyte here!" he answered.

"The new manager? Well, this is Jackson, bell-captain. Whadda you mean canning Jerry? I'm down to twelve skippers and you start out by firing one of my fastest boys!"

"The boy was sarcastic and insolent. Take it up with the service manager. Anyway, how many bellmen do you need to run this cracker-box? Twelve is about eight too many."

There was a brief silence, then: "In the first place I am your service manager, or all you got at the present. In the second damned place, you tell me where I can lay my hands on ten more boys before you go canning any more. I'm rehiring Jerry as of now!" He banged the receiver in Sextus' ear.

Unperturbed, Sextus finished his shower, dressed in a lighter weight suit and picked up the phone. The house switchboard apparently was jammed. It took a full minute to get an operator. "Forsyte here. Your new manager, that is. Instruct all department heads to be in my office in seven minutes. General conference."

Another short nip at the bottle served nicely to quiet a small hunger pang. He went in search of his office. He found it on the mezzanine, suitably lavish, clean and well-furnished.

He adjusted the fragrant carnation on his lapel in the large wall mirror, not entirely displeased with what it reflected. Except for the suitcase wrinkles in his morning coat, he should pass inspection. His thinning hair, square jaw and wide-set eyes radiated a quiet dignity. The slight pink of his cheeks and nose was a bit more prominent than he liked. He should have had some breakfast.

The phone rang and he let it. He was not yet ready to assume his duties. But as time passed and none of his staff appeared, the ring became more significant. He gave in.

"Sorry, Mr. Forsyte," it was the operator, "but none of your staff can join you just now. They send their regrets."

"Regrets?" Sextus said icily. "Did you explain who called this meeting, young lady?"

Her voice dropped the synthetic sweetness and became a throaty rasp. "Look, Buster, we're short-handed enough without you should call meetings at eleven A. M. Plug the hole in your head. It's suckin' air." He broke the connection. The place was busy, he'd grant, but this was rank insubordination. His whole staff! Everyone seemed keyed to the boingg! point.

He decided to mull it over breakfast. The spacious, well-appointed coffee-shop served his juice gelid and his coffee hot, his egg tender and his toast crisp. The bit of tension vanished as he ate with relish. He signed the check with his tight, little introverted signature.

Now for a quick inspection tour to see just how rough things really were. He told the boy on the service elevator, "To the bottom." His stomach writhed as the cage plummeted four floors below the street level. The kitchens, laundry, warehouse, baggage-room, switchboard room, ice-plant and personnel spaces sprawled through an acre of underground levels. They boiled with sweating men and dishevelled women engaged in the intricate business of housing, feeding, clothing, liquoring and catering to a small city under one roof. Then he remembered how small the quarters were upstairs.

Returning to his office he called the employment bureau. "Mr. Crowson? Forsyte here! I'm at the hotel."

"You didn't tell me to whom I should report. This, ah, is my first experience with employment agencies. Usually there is a board of directors."

"Is that all?" Crowson sighed audibly. "You are in full charge, I assure you. Our little interview was quite satisfactory. I have certified you to your bookkeeping department, and you may draw upon your salary after a week. Anything else?"

"The owner is a Dr. Bradford who is in Hanford, Washington. Top secret government work. He may not be contacted until he returns. Sorry, that's all I can tell you. Getting on all right, Mr. Forsyte?" he asked with obvious reluctance.

Sextus cut off. Two lights on the intercom were blinking at him. One call was from the kitchen. The first chef had just heaved a cleaver at the steward, and the head salad girl was in hysterics.

Sextus said he'd be right down. The second call was from the chief house-detective. He had caught a bell-hop peddling marijuana to the waitresses. What was the manager's new policy? Sextus told him to hold the boy in the locker room for him. Then one of the room clerks rang to say that Gary Gable, the movie star, was raising hell in the lobby because he couldn't get the bridal suite and demanded to see the manager.

Sextus smiled. These things were the routine of running a large hotel. He stopped at the bar for a quick one and then started for the kitchen.

The day passed pleasantly enough, and he looked forward to retiring to his quiet rooms upstairs. He thought to get some intelligent answers from his assistant manager when he walked in promptly at five P. M., but he turned out to be a university student from Southern Cal, working days on his master's degree in business administration and nights at the hotel. No wonder he hadn't been promoted. Not that he wasn't bright—just not experienced.

Sextus formally offered his hand and introduced himself. The lad said, "I'm Horace Smith the phone is ringing excuse me." He snatched the phone with a harried look.

Somehow the phone never stopped ringing. Sextus gave up and retired to dress for dinner. He finished his fifth of whiskey and descended to the hotel's swank Oceania Room, where he made himself known to the maitre d'hotel. That frenzied little moustachioed person sniffed Sextus' breath and seated him behind a potted palm.

Discreetly avoiding the wine list, Sextus dined well, noting several movie stars and other vip's in the crowded dining room. He couldn't escape the illusion that he was dining at the Ambassador or the Waldorf Astoria—instead of in a five-story rat-trap. Where did they all come from?

As he awaited the elevator, he was approached by the bell-captain. "Mr. Forsyte?" Sextus nodded stiffly. "Here's an envelope Mr. Patterson left for you. He was the last G. M. Incidentally, sorry I was a little rough on the phone, but you can see our situation here. Understaffed and overcrowded. It gets thick, real thick, brother."

Sextus felt his belly muscles tighten. "Confusion is never improved by discourtesy or insubordination," he said coldly.

At that moment a bellman rushed up to the rebuffed captain who was regarding Sextus with a restrained loathing. "The guy in C332 keeps screaming for his beer, but the service elevator to 'C' vector keeps dumping me off in 'F'."

The captain said, "Try riding to fourth on 'C' and then walk down a deck and come out through the linen room."

He turned to Sextus and said acidly, "Just one of our little extra problems." He moved off with a disgusted shake of his carefully barbered head.

The nature of the bell-captain's special problem sounded interesting, but the details confused Sextus. Ride to four on "C", walk down to three and out by the linen closet. Sounded like three-dimensional chess.

His cage arrived and he returned to his suite. He removed his shoes, stripped to the waist and sank gratefully into the soft bed, nestling the last bottle of his suitcase reserve in the crook of his bare arm.

First he opened a fresh bottle and then the envelope. He flipped through the papers. There were some tax reports ready for signature, two union contracts up for renegotiation and an estimate on re-doing 520 rooms in vectors "B" and "F". Vectors? Did they mean "Wings"?

The last paper was a personal letter, apparently addressed to him. Before he could begin it the phone at his bedside jangled. Operator said, "Would you take this, please, Mr. Forsyte? I dispatched a house man, but the guest is hysterical."

Without awaiting his permission she cut in the woman. "Hello, manager? There's a man in my bed!"

"I'm in H-408," she said, and on the "8" her voice ran up the scale in a quivering crescendo that launched Sextus briskly from his bed. H-408 was his floor and his wing, luckily. He tore out of the suite and down the hall without shirt or shoes.

The door stood ajar, and he pushed it open. In the middle of the floor, still gabbling into the phone, stood a lumpy, pallid woman about his own age, naked except for a pillow which she hugged fiercely to her navel. Her bleached hair was a frayed bird's-nest.

In bed, decently clad in a pair of blue and white striped pajamas, was a rather distinguished, gray-haired gentleman of about fifty, leaning on one elbow and watching the woman with an expression of mild astonishment and interest. To Sextus' practiced eye, the man was guilty of nothing.

The house detective arrived at that moment, but Sextus dismissed him with a wave of his hand. He went in alone.

"I'm the manager, madam," he assured her. He noted that despite her excited wails, her eyes drooped half shut. A bottle of sleeping pills on the table was uncapped.

"Thizz man, thizz man, thizz man!" she kept repeating and pointing her elbow at the bed. The man in question raised his eyebrows and shook his head.

"Damndest sensation I ever felt," he said. "I'm Johnathan P. Turner, attorney. Before I tell you my story, please check with the desk and verify that I was assigned this room."

Sextus took the phone from the woman's pudgy hand which darted to rescue the sagging pillow. The room-clerk reported that Mr. J. P. Turner was registered to room 408, but in "J" vector, not "H".

Sextus' eyes swept the room. It was an unexplainable mess. Two sets of luggage were jumbled on and around the baggage rack at the foot of the bed. Rinsed out nylons hung from the shower rod, but a man's shaving kit occupied the shelf over the lavatory. Despairing of ever arriving at a sensible explanation, Sextus went to work.

Although hampered somewhat without his shirt, coat and tie, Sextus managed to get Turner and his belongings transferred peaceably to another room and the woman quieted down in bed with another sleeping pill.

Then Turner was allowed to tell his story. "I had turned in early and was lying there on my back reading the paper when suddenly I got the most messy feeling all through me. It was like—oh, hell, I can't say it. Anyhow, in just about a second, something went thub! —and there she was in bed with me—naked!" he added with a shiver.

Sextus grasped at a straw. "How many did you have to drink this evening, Mr. Turner?"

The attorney squirmed uncomfortably. "Well, quite a few, maybe, but not enough to—"

Sextus shrugged one shoulder and turned to leave. "Understand, we don't blame you a bit, sir. You know how these middle-aged women can carry on when they get out on the town. You must have dozed off before she slipped in."

Sextus padded silently back to his room in his stocking feet and took a long pull at the whiskey. Funny thing, this. People often got into the wrong hotel beds, but rarely with such impalpable excuses. He sighed and picked up the letter from his predecessor again. It read:

Sextus tossed the fantastic communication aside in disgust, but his mind began to unreel a picture of the confusion he had witnessed down in the service quarters: Bellboys and room-service waiters fighting for service elevators; chambermaids trundling their little carts on the dead run; the overworked laundry staff, laboring in a veritable sweatshop of steamy chaos, swamped in a billowing backlog of sheets and towels. It all pointed to a large hotel operation.

If so, where were the rooms? Refusing to argue further with himself, he got undressed. Hyperspace or not, the people apparently were there, and it was his job to serve them. He got a bucket of ice from room-service, mixed an ice and whiskey highball and retreated into his private little world between crisp sheets and the pages of a twenty-five-cent mystery novel.

Arising early, he was girded for the summons from Miss Genevieve Hafner in room H-408. He went to her room. Fully dressed and in the daylight she was still a hollow-eyed mess. The only visible improvement was in the bleached bird's-nest, now a prim, rolled circle on her unlovely pate.

"What amends," she demanded, "do you intend to make for my terrible experience last night? Is that horrid creature in jail?"

"Experience? Jail?" Sextus asked innocent-eyed. He asked that she tell him about it. Exasperated, she went over the details. When she finished he patted her hand and pointed to the sleeping pills. "You should see your doctor."

"But my doctor prescribed those pills," she whimpered, looking down shyly at the hand which Sextus held gingerly. "They never made me dream—before."

He bent and kissed the revolting hand. "You are much too lovely a lady to have escaped from such a predicament as you describe without suffering—shall we say, a more romantic—fate?"

Miss Hafner blushed at the thought and wavered between outrage and ecstasy for a dangerous moment. With time-tested genius, Sextus withdrew quietly and left her to her thoughts.

He must get in touch with Dr. Bradford, atom business or not. This place could blow sky-high any minute.

He slipped the key into his own door and entered his suite. He took two brisk strides into his bedroom, tripped over a lady's overnight case and sprawled into his unmade bed. Even as he landed he realized it had an occupant, a gorgeous, strangely familiar blonde creature, touselled and asleep hugging her pillow with a creamy arm. A crash from the bathroom brought his head bouncing off the silken coverlet even as the girl awakened with a scream and tangled them both with the bed clothes.

Gary Gable charged from the bathroom, face dripping and a tuft of lather under each ear. "What in the Goddam hell—" He leaped for Sextus with his internationally famous shoulders knotted into bunches of muscular menace.

"I'm the hotel manager," Sextus blurted loudly. For once his self-assurance wavered under fire. Even to himself his words explained nothing.

Meanwhile, Gable tripped over one of Sextus' heavy suitcases and joined the pair in bed. Another male voice issued from the bathroom, and as they all thrashed about, Sextus became aware that a second female had somehow appeared between Gable and his brand new bride. They came up together, face to face, the beautiful, sleepy blonde and the very wide-awake, queenly brunette. Now a pot-bellied little man in shorts and undershirt emerged from the bathroom, his mouth a gaping hole in a fully lathered face.

Sextus wriggled free, made for the door and off down the hall. To his horror, the automatic signal light on the vector "H" elevator was flickering and fading. The whole H-vector must be collapsing. He dashed for the stairwell and then reconsidered. He moved to the end of the hall which overlooked the low roof of the adjacent building. He tried the window and remembered that it was sealed. Back in the alcove he seized one of the sand jars and headed back for the window. A growing tide of commotion swelled from behind almost every door now. Grunts, screams and wrestling sounds came over the transoms.

He dashed the sand jar through the window, chipped off the jagged edges with his heel and climbed out. It was a twenty-foot drop to security, and he made it without hesitation. What could a man hope to do with a mess like—

Spang! His feet struck, not with a crunch on gravelled tar, but into a springy fabric that sagged under his 180 pounds, tossed him six feet in the air, caught him on the rebound and then juggled him down with diminishing bounces.

They were waiting for him, as he regained his feet on the quivering surface of a spring-loaded, canvas trampoline. The bright, mid-morning sun blinded him for an instant, but their voices assailed his ears in a mighty roar of approval as he squinted under his hand and peered around him.

"Attaboy, Sexy," a shrill female voice piped. The roof-top was jammed with a pressing throng of—nearly naked people. In the cleared semi-circle about him a cordon of male bodies-beautiful restrained the mob behind a rope from which a long streamer hung with letters reading:

Reaching over the edge of the canvas platform with outstretched hand was a single, willowy, sun-baked oldster in a purple loin-cloth. His hair and beard were a dazzling white, and his face was wreathed in a silly smile, the kind officials always wear when presenting the keys to the city.

He shuffled his white kid sandals and spoke with an accent: "Welcome to 2153, Sextus Rollo Forsyte! California salutes you!"

Somewhere down on the street a raucous brass band broke into the Stars and Stripes Forever that quickly medlied into California, Here We Come !

Sextus shrank back against the wall and felt ancient bricks crumble into dust against his hands. The magnitude of his disaster crushed in upon shrinking soul, and as his nimble imagination grasped the stunning significance every molecule of his being vibrated with horror. He had been warned not to open a window.

"You have fulfilled the legend," the old man sang joyously. "You are a famous man." How famous, Sextus was forced to acknowledge as a television boom snaked over the heads of the crowd trailing a wisp of cable and cast its baleful, glassy eye full into his face.

"Two hundred years to the day, as my great-great-grandfather predicted. I am Clark Bradford, direct descendent of—"

Sextus stared wildly up at the open window. He bounced once experimentally. It was a fine trampoline, and he flipped a foot off the surface. Next bounce he flexed his knees a little and gained another foot. Now he doubled up purposefully.

The one-man-delegate in purple frowned. "Stop that. We are here to welcome you and start the celebration at the Hollywood Bowl and—Stop that, I say!" Now he sensed Sextus' incredible intent. "Officer, help out here, please!"

A bulgy, bronzed fellow clad mainly in an immaculately white brassard left the rope barrier and joined Bradford.

The Elder screamed, "You can't go back, Forsyte! Don't you understand? You disappeared two centuries ago when the vector field collapsed. You can't go back! You can't! This is your destiny!"

Sextus' heels soared five feet above the canvas and gained precious altitude with each spring, but it was a precarious business the higher he went. One slip and he'd glance off at a tangent and be captured by those reaching, grasping obscene hands in the crowd. The thought almost unseated his reason.

The police officer asked Bradford, "What would happen if he did go back?" Then he added, "Ain't he got a right to?"

Bradford shuffled nervously. "I don't quite know. We never considered such a—my God! Stop, man, stop. You'll change the whole course of history! Stop him!"

The barelegged minion tried, but as he climbed up on the edge of the trampoline Sextus bounced and kicked out with accuracy and determination. The policeman sprawled back clutching air, and the crowd roared.

One more bounce and a half twist, now. Sextus soared up, up, and his hands touched the sill.

"You don't know what you are doing," the old man screeched. "Stay here and you'll be famous. If you go back it is to oblivion. Oblivion! Very, well, go back! Go back, you—you nonentity!"

"You bet," Sextus panted to himself and tumbled onto the carpeted fourth floor hallway of the Mahoney-Plaza hotel.

Instantly, another voice, but without accent, accosted him shrilly from down the hall. "You, there. You mister manager." Sextus sighed mightily with relief. It was only Miss Genevieve Hafner holding a pimply-faced, red-haired youth by the ear.

True, Gary Gable and two hair-pulling, female starlets bore down right behind her, and rooms along both sides of the corridor were disgorging eddies of indignant displaced persons.

But these were things he understood. These were just beefs. Somewhat more involved than usual, but nothing much worse than a full-fledged convention at mid-night.

He adjusted his mashed carnation, brushed the crumbles of old brick dust from his morning coat and moved into the fray.

*** END OF THE PROJECT GUTENBERG EBOOK FORSYTE'S RETREAT ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate .

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org .

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of Forsyte's Retreat

FORSYTE'S RETREAT

By Winston Marks

Illustration by Kelly Freas

THE FULL PROJECT GUTENBERG LICENSE