The Project Gutenberg EBook of The First and The Last by John Galsworthy 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 re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The First and The Last Subtitle: From Six Short Plays) Author: John Galsworthy Release Date: September 26, 2004 [EBook #2918] Last Updated: October 28, 2012 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK FIRST AND LAST *** Produced by David Widger
| THE FIRST SERIES: | The Silver Box | Joy | Strife |
| THE SECOND SERIES: | The Eldest Son | Little Dream | Justice |
| THE THIRD SERIES: | The Fugitive | The Pigeon | The Mob |
| THE FOURTH SERIES: | A Bit O'Love | The Foundations | The Skin Game |
| THE FIFTH SERIES: | A Family Man | Loyalties | Windows |
| THE SIXTH SERIES: | The First and Last | The Little Man | Four Short Plays |
PERSONS OF THE PLAY KEITH DARRANT, K.C. LARRY DARRANT, His Brother. WANDA. SCENE I. KEITH'S Study. SCENE II. WANDA's Room. SCENE III. The Same. Between SCENE I. and SCENE II.—Thirty hours. Between SCENE II. and SCENE III.—Two months.
It is six o'clock of a November evening, in KEITH DARRANT'S study. A large, dark-curtained room where the light from a single reading-lamp falling on Turkey carpet, on books beside a large armchair, on the deep blue-and-gold coffee service, makes a sort of oasis before a log fire. In red Turkish slippers and an old brown velvet coat, KEITH DARRANT sits asleep. He has a dark, clean-cut, clean-shaven face, dark grizzling hair, dark twisting eyebrows.
[The curtained door away out in the dim part of the room behind him is opened so softly that he does not wake. LARRY DARRANT enters and stands half lost in the curtain over the door. A thin figure, with a worn, high cheek-boned face, deep-sunk blue eyes and wavy hair all ruffled—a face which still has a certain beauty. He moves inwards along the wall, stands still again and utters a gasping sigh. KEITH stirs in his chair.]
KEITH. Who's there?
LARRY. [In a stifled voice] Only I—Larry.
KEITH. [Half-waked] Come in! I was asleep. [He does not turn his head, staring sleepily at the fire.]
The sound of LARRY's breathing can be heard. [Turning his head a little] Well, Larry, what is it? LARRY comes skirting along the wall, as if craving its support, outside the radius of the light. [Staring] Are you ill? LARRY stands still again and heaves a deep sigh.
KEITH. [Rising, with his back to the fire, and staring at his brother] What is it, man? [Then with a brutality born of nerves suddenly ruffled] Have you committed a murder that you stand there like a fish?
LARRY. [In a whisper] Yes, Keith.
KEITH. [With vigorous disgust] By Jove! Drunk again! [In a voice changed by sudden apprehension] What do you mean by coming here in this state? I told you—— If you weren't my brother——! Come here, where I can we you! What's the matter with you, Larry?
[With a lurch LARRY leaves the shelter of the wall and sinks into a chair in the circle of light.]
LARRY. It's true.
[KEITH steps quickly forward and stares down into his brother's eyes, where is a horrified wonder, as if they would never again get on terms with his face.]
KEITH. [Angry, bewildered-in a low voice] What in God's name is this nonsense?
[He goes quickly over to the door and draws the curtain aside, to see that it is shut, then comes back to LARRY, who is huddling over the fire.]
Come, Larry! Pull yourself together and drop exaggeration! What on earth do you mean?
LARRY. [In a shrill outburst] It's true, I tell you; I've killed a man.
KEITH. [Bracing himself; coldly] Be quiet!
LARRY lifts his hands and wrings them.
[Utterly taken aback] Why come here and tell me this?
LARRY. Whom should I tell, Keith? I came to ask what I'm to do— give myself up, or what?
KEITH. When—when—what——?
LARRY. Last night.
KEITH. Good God! How? Where? You'd better tell me quietly from the beginning. Here, drink this coffee; it'll clear your head.
He pours out and hands him a cup of coffee. LARRY drinks it off.
LARRY. My head! Yes! It's like this, Keith—there's a girl——
KEITH. Women! Always women, with you! Well?
LARRY. A Polish girl. She—her father died over here when she was sixteen, and left her all alone. There was a mongrel living in the same house who married her—or pretended to. She's very pretty, Keith. He left her with a baby coming. She lost it, and nearly starved. Then another fellow took her on, and she lived with him two years, till that brute turned up again and made her go back to him. He used to beat her black and blue. He'd left her again when—I met her. She was taking anybody then. [He stops, passes his hand over his lips, looks up at KEITH, and goes on defiantly] I never met a sweeter woman, or a truer, that I swear. Woman! She's only twenty now! When I went to her last night, that devil had found her out again. He came for me—a bullying, great, hulking brute. Look! [He touches a dark mark on his forehead] I took his ugly throat, and when I let go—[He stops and his hands drop.]
KEITH. Yes?
LARRY. [In a smothered voice] Dead, Keith. I never knew till afterwards that she was hanging on to him—to h-help me. [Again he wrings his hands.]
KEITH. [In a hard, dry voice] What did you do then?
LARRY. We—we sat by it a long time.
KEITH. Well?
LARRY. Then I carried it on my back down the street, round a corner, to an archway.
KEITH. How far?
LARRY. About fifty yards.
KEITH. Was—did anyone see?
LARRY. No.
KEITH. What time?
LARRY. Three in the morning.
KEITH. And then?
LARRY. Went back to her.
KEITH. Why—in heaven's name?
LARRY. She way lonely and afraid. So was I, Keith.
KEITH. Where is this place?
LARRY. Forty-two Borrow Square, Soho.
KEITH. And the archway?
LARRY. Corner of Glove Lane.
KEITH. Good God! Why, I saw it in the paper this morning. They were talking of it in the Courts! [He snatches the evening paper from his armchair, and runs it over anal reads] Here it is again. "Body of a man was found this morning under an archway in Glove Lane. From marks about the throat grave suspicion of foul play are entertained. The body had apparently been robbed." My God! [Suddenly he turns] You saw this in the paper and dreamed it. D'you understand, Larry?—you dreamed it.
LARRY. [Wistfully] If only I had, Keith!
[KEITH makes a movement of his hands almost like his brother's.]
KEITH. Did you take anything from the-body?
LARRY. [Drawing au envelope from his pocket] This dropped out while we were struggling.
KEITH. [Snatching it and reading] "Patrick Walenn"—Was that his name? "Simon's Hotel, Farrier Street, London." [Stooping, he puts it in the fire] No!—that makes me——[He bends to pluck it out, stays his hand, and stamps it suddenly further in with his foot] What in God's name made you come here and tell me? Don't you know I'm—I'm within an ace of a Judgeship?
LARRY. [Simply] Yes. You must know what I ought to do. I didn't, mean to kill him, Keith. I love the girl—I love her. What shall I do?
KEITH. Love!
LARRY. [In a flash] Love!—That swinish brute! A million creatures die every day, and not one of them deserves death as he did. But but I feel it here. [Touching his heart] Such an awful clutch, Keith. Help me if you can, old man. I may be no good, but I've never hurt a fly if I could help it. [He buries his face in his hands.]
KEITH. Steady, Larry! Let's think it out. You weren't seen, you say?
LARRY. It's a dark place, and dead night.
KEITH. When did you leave the girl again?
LARRY. About seven.
KEITH. Where did you go?
LARRY. To my rooms.
KEITH. To Fitzroy Street?
LARRY. Yes.
KEITH. What have you done since?
LARRY. Sat there—thinking.
KEITH. Not been out?
LARRY. No.
KEITH. Not seen the girl?
[LARRY shakes his head.]
Will she give you away?
LARRY. Never.
KEITH. Or herself hysteria?
LARRY. No.
KEITH. Who knows of your relations with her?
LARRY. No one.
KEITH. No one?
LARRY. I don't know who should, Keith.
KEITH. Did anyone see you go in last night, when you first went to her?
LARRY. No. She lives on the ground floor. I've got keys.
KEITH. Give them to me.
LARRY takes two keys from his pocket and hands them to his brother.
LARRY. [Rising] I can't be cut off from her!
KEITH. What! A girl like that?
LARRY. [With a flash] Yes, a girl like that.
KEITH. [Moving his hand to put down old emotion] What else have you that connects you with her?
LARRY. Nothing.
KEITH. In your rooms?
[LARRY shakes his head.]
Photographs? Letters?
LARRY. No.
KEITH. Sure?
LARRY. Nothing.
KEITH. No one saw you going back to her?
[LARRY shakes his head. ] Nor leave in the morning? You can't be certain.
LARRY. I am.
KEITH. You were fortunate. Sit down again, man. I must think.
He turns to the fire and leans his elbows on the mantelpiece and his head on his hands. LARRY Sits down again obediently.
KEITH. It's all too unlikely. It's monstrous!
LARRY. [Sighing it out] Yes.
KEITH. This Walenn—was it his first reappearance after an absence?
LARRY. Yes.
KEITH. How did he find out where she was?
LARRY. I don't know.
KEITH. [Brutally] How drunk were you?
LARRY. I was not drunk.
KEITH. How much had you drunk, then?
LARRY. A little claret—nothing!
KEITH. You say you didn't mean to kill him.
LARRY. God knows.
KEITH. That's something.
LARRY. He hit me. [He holds up his hands] I didn't know I was so strong.
KEITH. She was hanging on to him, you say?—That's ugly.
LARRY. She was scared for me.
KEITH. D'you mean she—loves you?
LARRY. [Simply] Yes, Keith.
KEITH. [Brutally] Can a woman like that love?
LARRY. [Flashing out] By God, you are a stony devil! Why not?
KEITH. [Dryly] I'm trying to get at truth. If you want me to help, I must know everything. What makes you think she's fond of you?
LARRY. [With a crazy laugh] Oh, you lawyer! Were you never in a woman's arms?
KEITH. I'm talking of love.
LARRY. [Fiercely] So am I. I tell you she's devoted. Did you ever pick up a lost dog? Well, she has the lost dog's love for me. And I for her; we picked each other up. I've never felt for another woman what I feel for her—she's been the saving of me!
KEITH. [With a shrug] What made you choose that archway?
LARRY. It was the first dark place.
KEITH. Did his face look as if he'd been strangled?
LARRY. Don't!
KEITH. Did it?
[LARRY bows his head.]
Very disfigured?
LARRY. Yes.
KEITH. Did you look to see if his clothes were marked?
LARRY. No.
KEITH. Why not?
LARRY. [In an outburst] I'm not made of iron, like you. Why not? If you had done it——!
KEITH. [Holding up his hand] You say he was disfigured. Would he be recognisable?
LARRY. [Wearily] I don't know.
KEITH. When she lived with him last—where was that?
LARRY. In Pimlico, I think.
KEITH. Not Soho?
[LARRY shakes his head.]
How long has she been at this Soho place?
LARRY. Nearly a year.
KEITH. Living this life?
LARRY. Till she met me.
KEITH. Till, she met you? And you believe——?
LARRY. [Starting up] Keith!
KEITH. [Again raising his hand] Always in the same rooms?
LARRY. [Subsiding] Yes.
KEITH. What was he? A professional bully?
[LARRY nods.]
Spending most of his time abroad, I suppose.
LARRY. I think so.
KEITH. Can you say if he was known to the police?
LARRY. I've never heard.
KEITH turns away and walks up and down; then, stopping at LARRY's chair, he speaks.
KEITH. Now listen, Larry. When you leave here, go straight home, and stay there till I give you leave to go out again. Promise.
LARRY. I promise.
KEITH. Is your promise worth anything?
LARRY. [With one of his flashes] "Unstable as water, he shall not excel!"
KEITH. Exactly. But if I'm to help you, you must do as I say. I must have time to think this out. Have you got money?
LARRY. Very little.
KEITH. [Grimly] Half-quarter day—yes, your quarter's always spent by then. If you're to get away—never mind, I can manage the money.
LARRY. [Humbly] You're very good, Keith; you've always been very good to me—I don't know why.
KEITH. [Sardonically] Privilege of A brother. As it happens, I'm thinking of myself and our family. You can't indulge yourself in killing without bringing ruin. My God! I suppose you realise that you've made me an accessory after the fact—me, King's counsel—sworn to the service of the Law, who, in a year or two, will have the trying of cases like yours! By heaven, Larry, you've surpassed yourself!
LARRY. [Bringing out a little box] I'd better have done with it.
KErra. You fool! Give that to me.
LARRY. [With a strange smite] No. [He holds up a tabloid between finger and thumb] White magic, Keith! Just one—and they may do what they like to you, and you won't know it. Snap your fingers at all the tortures. It's a great comfort! Have one to keep by you?
KEITH. Come, Larry! Hand it over.
LARRY. [Replacing the box] Not quite! You've never killed a man, you see. [He gives that crazy laugh.] D'you remember that hammer when we were boys and you riled me, up in the long room? I had luck then. I had luck in Naples once. I nearly killed a driver for beating his poor brute of a horse. But now—! My God! [He covers his face.]
KEITH touched, goes up and lays a hand on his shoulder.
KEITH. Come, Larry! Courage!
LARRY looks up at him.
LARRY. All right, Keith; I'll try.
KEITH. Don't go out. Don't drink. Don't talk. Pull yourself together!
LARRY. [Moving towards the door] Don't keep me longer than you can help, Keith.
KEITH. No, no. Courage!
LARRY reaches the door, turns as if to say something-finds no words, and goes.
[To the fire] Courage! My God! I shall need it!
CURTAIN
At out eleven o'clock the following night an WANDA'S room on the ground floor in Soho. In the light from one close-shaded electric bulb the room is but dimly visible. A dying fire burns on the left. A curtained window in the centre of the back wall. A door on the right. The furniture is plush-covered and commonplace, with a kind of shabby smartness. A couch, without back or arms, stands aslant, between window and fire. [On this WANDA is sitting, her knees drawn up under her, staring at the embers. She has on only her nightgown and a wrapper over it; her bare feet are thrust into slippers. Her hands are crossed and pressed over her breast. She starts and looks up, listening. Her eyes are candid and startled, her face alabaster pale, and its pale brown hair, short and square-cut, curls towards her bare neck. The startled dark eyes and the faint rose of her lips are like colour-staining on a white mask.] [Footsteps as of a policeman, very measured, pass on the pavement outside, and die away. She gets up and steals to the window, draws one curtain aside so that a chink of the night is seen. She opens the curtain wider, till the shape of a bare, witch-like tree becomes visible in the open space of the little Square on the far side of the road. The footsteps are heard once more coming nearer. WANDA closes the curtains and cranes back. They pass and die again. She moves away and looking down at the floor between door and couch, as though seeing something there; shudders; covers her eyes; goes back to the couch and down again just as before, to stare at the embers. Again she is startled by noise of the outer door being opened. She springs up, runs and turns the light by a switch close to the door. By the glimmer of the fire she can just be seen standing by the dark window-curtains, listening. There comes the sound of subdued knocking on her door. She stands in breathless terror. The knocking is repeated. The sound of a latchkey in the door is heard. Her terror leaves her. The door opens; a man enters in a dark, fur overcoat.]
WANDA. [In a voice of breathless relief, with a rather foreign accent] Oh! it's you, Larry! Why did you knock? I was so frightened. Come in! [She crosses quickly, and flings her arms round his neck] [Recoiling—in a terror-stricken whisper] Oh! Who is it?
KEITH. [In a smothered voice] A friend of Larry's. Don't be frightened.
She has recoiled again to the window; and when he finds the switch and turns the light up, she is seen standing there holding her dark wrapper up to her throat, so that her face has an uncanny look of being detached from the body.
[Gently] You needn't be afraid. I haven't come to do you harm— quite the contrary. [Holding up the keys] Larry wouldn't have given me these, would he, if he hadn't trusted me?
WANDA does not move, staring like a spirit startled out of the flesh.
[After looking round him] I'm sorry to have startled you.
WANDA. [In a whisper] Who are you, please?
KEITH. Larry's brother.
WANDA, with a sigh of utter relief, steals forward to the couch and sinks down. KEITH goes up to her.
He'd told me.
WANDA. [Clasping her hands round her knees.] Yes?
KEITH. An awful business!
WANDA. Yes; oh, yes! Awful—it is awful!
KEITH. [Staring round him again.] In this room?
WANDA. Just where you are standing. I see him now, always falling.
KEITH. [Moved by the gentle despair in her voice] You—look very young. What's your name?
WANDA. Wanda.
KEITH. Are you fond of Larry?
WANDA. I would die for him!
[A moment's silence.]
KEITH. I—I've come to see what you can do to save him.
WANDA, [Wistfully] You would not deceive me. You are really his brother?
KEITH. I swear it.
WANDA. [Clasping her hands] If I can save him! Won't you sit down?
KEITH. [Drawing up a chair and sitting] This, man, your—your husband, before he came here the night before last—how long since you saw him?
WANDA. Eighteen month.
KEITH. Does anyone about here know you are his wife?
WANDA. No. I came here to live a bad life. Nobody know me. I am quite alone.
KEITH. They've discovered who he was—you know that?
WANDA. No; I have not dared to go out.
KEITH: Well, they have; and they'll look for anyone connected with him, of course.
WANDA. He never let people think I was married to him. I don't know if I was—really. We went to an office and signed our names; but he was a wicked man. He treated many, I think, like me.
KEITH. Did my brother ever see him before?
WANDA. Never! And that man first went for him.
KEITH. Yes. I saw the mark. Have you a servant?
WANDA. No. A woman come at nine in the morning for an hour.
KEITH. Does she know Larry?
WANDA. No. He is always gone.
KEITH. Friends—acquaintances?
WANDA. No; I am verree quiet. Since I know your brother, I see no one, sare.
KEITH. [Sharply] Do you mean that?
WANDA. Oh, yes! I love him. Nobody come here but him for a long time now.
KEITH. How long?
WANDA. Five month.
KEITH. So you have not been out since——?
[WANDA shakes her head.]
What have you been doing?
WANDA. [Simply] Crying. [Pressing her hands to her breast] He is in danger because of me. I am so afraid for him.
KEITH. [Checking her emotion] Look at me.
[She looks at him.]
If the worst comes, and this man is traced to you, can you trust yourself not to give Larry away?
WANDA. [Rising and pointing to the fire] Look! I have burned all the things he have given me—even his picture. Now I have nothing from him.
KEITH. [Who has risen too] Good! One more question. Do the police know you—because—of your life?
[She looks at him intently, and shakes her, head.]
You know where Larry lives?
WANDA. Yes.
KEITH. You mustn't go there, and he mustn't come to you.
[She bows her head; then, suddenly comes close to him.]
WANDA. Please do not take him from me altogether. I will be so careful. I will not do anything to hurt him. But if I cannot see him sometimes, I shall die. Please do not take him from me.
[She catches his hand and presses it desperately between her own.]
KEITH. Leave that to me. I'm going to do all I can.
WANDA. [Looking up into his face] But you will be kind?
Suddenly she bends and kisses his hand. KEITH draws his hand away, and she recoils a little humbly, looking up at him again. Suddenly she stands rigid, listening.
[In a whisper] Listen! Someone—out there!
She darts past him and turns out the light. There is a knock on the door. They are now close together between door and window. [Whispering] Oh! Who is it?
KEITH. [Under his breath] You said no one comes but Larry.
WANDA. Yes, and you have his keys. Oh! if it is Larry! I must open!
KEITH shrinks back against the wall. WANDA goes to the door.
[Opening the door an inch] Yes? Please? Who?
A thin streak of light from a bull's-eye lantern outside plays over the wall. A Policeman's voice says: "All right, Miss. Your outer door's open. You ought to keep it shut after dark, you know."
WANDA. Thank you, air.
[The sound of retreating footsteps, of the outer door closing. WANDA shuts the door.]
A policeman!
KEITH. [Moving from the wall] Curse! I must have left that door. [Suddenly-turning up the light] You told me they didn't know you.
WANDA. [Sighing] I did not think they did, sir. It is so long I was not out in the town; not since I had Larry.
KEITH gives her an intent look, then crosses to the fire. He stands there a moment, looking down, then turns to the girl, who has crept back to the couch.
KEITH. [Half to himself] After your life, who can believe—-? Look here! You drifted together and you'll drift apart, you know. Better for him to get away and make a clean cut of it.
WANDA. [Uttering a little moaning sound] Oh, sir! May I not love, because I have been bad? I was only sixteen when that man spoiled me. If you knew——
KEITH. I'm thinking of Larry. With you, his danger is much greater. There's a good chance as things are going. You may wreck it. And for what? Just a few months more of—well—you know.
WANDA. [Standing at the head of the couch and touching her eyes with her hands] Oh, sir! Look! It is true. He is my life. Don't take him away from me.
KEITH. [Moved and restless] You must know what Larry is. He'll never stick to you.
WANDA. [Simply] He will, sir.
KEITH. [Energetically] The last man on earth to stick to anything! But for the sake of a whim he'll risk his life and the honour of all his family. I know him.
WANDA. No, no, you do not. It is I who know him.
KEITH. Now, now! At any moment they may find out your connection with that man. So long as Larry goes on with you, he's tied to this murder, don't you see?
WANDA. [Coming close to him] But he love me. Oh, sir! he love me!
KEITH. Larry has loved dozens of women.
WANDA. Yes, but——[Her face quivers].
KEITH. [Brusquely] Don't cry! If I give you money, will you disappear, for his sake?
WANDA. [With a moan] It will be in the water, then. There will be no cruel men there.
KEITH. Ah! First Larry, then you! Come now. It's better for you both. A few months, and you'll forget you ever met.
WANDA. [Looking wildly up] I will go if Larry say I must. But not to live. No! [Simply] I could not, sir.
[KEITH, moved, is silent.]
I could not live without Larry. What is left for a girl like me— when she once love? It is finish.
KEITH. I don't want you to go back to that life.
WANDA. No; you do not care what I do. Why should you? I tell you I will go if Larry say I must.
KEITH. That's not enough. You know that. You must take it out of his hands. He will never give up his present for the sake of his future. If you're as fond of him as you say, you'll help to save him.
WANDA. [Below her breath] Yes! Oh, yes! But do not keep him long from me—I beg! [She sinks to the floor and clasps his knees.]
KEITH. Well, well! Get up.
[There is a tap on the window-pane]
Listen!
[A faint, peculiar whistle. ]
WANDA. [Springing up] Larry! Oh, thank God!
[She runs to the door, opens it, and goes out to bring him in. KEITH stands waiting, facing the open doorway.] [LARRY entering with WANDA just behind him.]
LARRY. Keith!
KEITH. [Grimly] So much for your promise not to go out!
LARRY. I've been waiting in for you all day. I couldn't stand it any longer.
KEITH. Exactly!
LARRY. Well, what's the sentence, brother? Transportation for life and then to be fined forty pounds'?
KEITH. So you can joke, can you?
LARRY. Must.
KEITH. A boat leaves for the Argentine the day after to-morrow; you must go by it.
LARRY. [Putting his arms round WANDA, who is standing motionless with her eyes fixed on him] Together, Keith?
KEITH. You can't go together. I'll send her by the next boat.
LARRY. Swear?
KEITH. Yes. You're lucky they're on a false scent.
LARRY. What?
KEITH. You haven't seen it?
LARRY. I've seen nothing, not even a paper.
KEITH. They've taken up a vagabond who robbed the body. He pawned a snake-shaped ring, and they identified this Walenn by it. I've been down and seen him charged myself.
LARRY. With murder?
WANDA. [Faintly] Larry!
KEITH. He's in no danger. They always get the wrong man first. It'll do him no harm to be locked up a bit—hyena like that. Better in prison, anyway, than sleeping out under archways in this weather.
LARRY. What was he like, Keith?
KEITH. A little yellow, ragged, lame, unshaven scarecrow of a chap. They were fools to think he could have had the strength.
LARRY. What! [In an awed voice] Why, I saw him—after I left you last night.
KEITH. You? Where?
LARRY. By the archway.
KEITH. You went back there?
LARRY. It draws you, Keith.
KErra. You're mad, I think.
LARRY. I talked to him, and he said, "Thank you for this little chat. It's worth more than money when you're down." Little grey man like a shaggy animal. And a newspaper boy came up and said: "That's right, guv'nors! 'Ere's where they found the body—very spot. They 'yn't got 'im yet."
[He laughs; and the terrified girl presses herself against him.]
An innocent man!
KEITH. He's in no danger, I tell you. He could never have strangled——Why, he hadn't the strength of a kitten. Now, Larry! I'll take your berth to-morrow. Here's money [He brings out a pile of notes and puts them on the couch] You can make a new life of it out there together presently, in the sun.
LARRY. [In a whisper] In the sun! "A cup of wine and thou." [Suddenly] How can I, Keith? I must see how it goes with that poor devil.
KEITH. Bosh! Dismiss it from your mind; there's not nearly enough evidence.
LARRY. Not?
KEITH. No. You've got your chance. Take it like a man.
LARRY. [With a strange smile—to the girl] Shall we, Wanda?
WANDA. Oh, Larry!
LARRY. [Picking the notes up from the couch] Take them back, Keith.
KEITH. What! I tell you no jury would convict; and if they did, no judge would hang. A ghoul who can rob a dead body, ought to be in prison. He did worse than you.
LARRY. It won't do, Keith. I must see it out.
KEITH. Don't be a fool!
LARRY. I've still got some kind of honour. If I clear out before I know, I shall have none—nor peace. Take them, Keith, or I'll put them in the fire.
KEITH. [Taking back the notes; bitterly] I suppose I may ask you not to be entirely oblivious of our name. Or is that unworthy of your honour?
LARRY. [Hanging his head] I'm awfully sorry, Keith; awfully sorry, old man.
KEITH. [sternly] You owe it to me—to our name—to our dead mother —to do nothing anyway till we see what happens.
LARRY. I know. I'll do nothing without you, Keith.
KEITH. [Taking up his hat] Can I trust you? [He stares hard at his brother.]
LARRY. You can trust me.
KEITH. Swear?
LARRY. I swear.
KEITH. Remember, nothing! Good night!
LARRY. Good night!
KEITH goes. LARRY Sits down on the couch sand stares at the fire. The girl steals up and slips her arms about him.
LARRY. An innocent man!
WANDA. Oh, Larry! But so are you. What did we want—to kill that man? Never! Oh! kiss me!
[LARRY turns his face. She kisses his lips.]
I have suffered so—not seein' you. Don't leave me again—don't! Stay here. Isn't it good to be together?—Oh! Poor Larry! How tired you look!—Stay with me. I am so frightened all alone. So frightened they will take you from me.
LARRY. Poor child!
WANDA. No, no! Don't look like that!
LARRY. You're shivering.
WANDA. I will make up the fire. Love me, Larry! I want to forget.
LARRY. The poorest little wretch on God's earth—locked up—for me! A little wild animal, locked up. There he goes, up and down, up and down—in his cage—don't you see him?—looking for a place to gnaw his way through—little grey rat. [He gets up and roams about.]
WANDA. No, no! I can't bear it! Don't frighten me more!
[He comes back and takes her in his arms.]
LARRY. There, there! [He kisses her closed eyes.]
WANDA. [Without moving] If we could sleep a little—wouldn't it be nice?
LARRY. Sleep?
WANDA. [Raising herself] Promise to stay with me—to stay here for good, Larry. I will cook for you; I will make you so comfortable. They will find him innocent. And then—Oh, Larry! in the sun-right away—far from this horrible country. How lovely! [Trying to get him to look at her] Larry!
LARRY. [With a movement to free 'himself] To the edge of the world-and—-over!
WANDA. No, no! No, no! You don't want me to die, Larry, do you? I shall if you leave me. Let us be happy! Love me!
LARRY. [With a laugh] Ah! Let's be happy and shut out the sight of him. Who cares? Millions suffer for no mortal reason. Let's be strong, like Keith. No! I won't leave you, Wanda. Let's forget everything except ourselves. [Suddenly] There he goes-up and down!
WANDA. [Moaning] No, no! See! I will pray to the Virgin. She will pity us!
She falls on her knees and clasps her hands, praying. Her lips move. LARRY stands motionless, with arms crossed, and on his face are yearning and mockery, love and despair.
LARRY. [Whispering] Pray for us! Bravo! Pray away!
[Suddenly the girl stretches out her arms and lifts her face with a look of ecstasy.]
What?
WANDA. She is smiling! We shall be happy soon.
LARRY. [Bending down over her] Poor child! When we die, Wanda, let's go together. We should keep each other warm out in the dark.
WANDA. [Raising her hands to his face] Yes! oh, yes! If you die I could not—I could not go on living!
CURTAIN
WANDA'S room. Daylight is just beginning to fail of a January afternoon. The table is laid for supper, with decanters of wine. WANDA is standing at the window looking out at the wintry trees of the Square beyond the pavement. A newspaper Boy's voice is heard coming nearer.
VOICE. Pyper! Glove Lyne murder! Trial and verdict! [Receding] Verdict! Pyper!
WANDA throws up the window as if to call to him, checks herself, closes it and runs to the door. She opens it, but recoils into the room. KEITH is standing there. He comes in.
KEITH. Where's Larry?
WANDA. He went to the trial. I could not keep him from it. The trial—Oh! what has happened, sir?
KEITH. [Savagely] Guilty! Sentence of death! Fools!—idiots!
WANDA. Of death! [For a moment she seems about to swoon.]
KEITH. Girl! girl! It may all depend on you. Larry's still living here?
WANDA. Yes.
KEITH. I must wait for him.
WANDA. Will you sit down, please?
KEITH. [Shaking his head] Are you ready to go away at any time?
WANDA. Yes, yes; always I am ready.
KEITH. And he?
WANDA. Yes—but now! What will he do? That poor man!
KEITH. A graveyard thief—a ghoul!
WANDA. Perhaps he was hungry. I have been hungry: you do things then that you would not. Larry has thought of him in prison so much all these weeks. Oh! what shall we do now?
KEITH. Listen! Help me. Don't let Larry out of your sight. I must see how things go. They'll never hang this wretch. [He grips her arms] Now, we must stop Larry from giving himself up. He's fool enough. D'you understand?
WANDA. Yes. But why has he not come in? Oh! If he have, already!
KEITH. [Letting go her arms] My God! If the police come—find me here—[He moves to the door] No, he wouldn't without seeing you first. He's sure to come. Watch him like a lynx. Don't let him go without you.
WANDA. [Clasping her hands on her breast] I will try, sir.
KEITH. Listen!
[A key is heard in the lock.]
It's he!
LARRY enters. He is holding a great bunch of pink lilies and white narcissus. His face tells nothing. KEITH looks from him to the girl, who stands motionless.
LARRY. Keith! So you've seen?
KEITH. The thing can't stand. I'll stop it somehow. But you must give me time, Larry.
LARRY. [Calmly] Still looking after your honour, KEITH!
KEITH. [Grimly] Think my reasons what you like.
WANDA. [Softly] Larry!
[LARRY puts his arm round her.]
LARRY. Sorry, old man.
KEITH. This man can and shall get off. I want your solemn promise that you won't give yourself up, nor even go out till I've seen you again.
LARRY. I give it.
KEITH. [Looking from one to the other] By the memory of our mother, swear that.
LARRY. [With a smile] I swear.
KEITH. I have your oath—both of you—both of you. I'm going at once to see what can be done.
LARRY. [Softly] Good luck, brother.
KEITH goes out.
WANDA. [Putting her hands on LARRY's breast] What does it mean?
LARRY. Supper, child—I've had nothing all day. Put these lilies in water.
[She takes the lilies and obediently puts them into a vase. LARRY pours wine into a deep-coloured glass and drinks it off.]
We've had a good time, Wanda. Best time I ever had, these last two months; and nothing but the bill to pay.
WANDA. [Clasping him desperately] Oh, Larry! Larry!
LARRY. [Holding her away to look at her.] Take off those things and put on a bridal garment.
WANDA. Promise me—wherever you go, I go too. Promise! Larry, you think I haven't seen, all these weeks. But I have seen everything; all in your heart, always. You cannot hide from me. I knew—I knew! Oh, if we might go away into the sun! Oh! Larry—couldn't we? [She searches his eyes with hers—then shuddering] Well! If it must be dark—I don't care, if I may go in your arms. In prison we could not be together. I am ready. Only love me first. Don't let me cry before I go. Oh! Larry, will there be much pain?
LARRY. [In a choked voice] No pain, my pretty.
WANDA. [With a little sigh] It is a pity.
LARRY. If you had seen him, as I have, all day, being tortured. Wanda,—we shall be out of it. [The wine mounting to his head] We shall be free in the dark; free of their cursed inhumanities. I hate this world—I loathe it! I hate its God-forsaken savagery; its pride and smugness! Keith's world—all righteous will-power and success. We're no good here, you and I—we were cast out at birth—soft, will-less—better dead. No fear, Keith! I'm staying indoors. [He pours wine into two glasses] Drink it up!
[Obediently WANDA drinks, and he also.]
Now go and make yourself beautiful.
WANDA. [Seizing him in her arms] Oh, Larry!
LARRY. [Touching her face and hair] Hanged by the neck until he's dead—for what I did.
[WANDA takes a long look at his face, slips her arms from him, and goes out through the curtains below the fireplace.] [LARRY feels in his pocket, brings out the little box, opens it, fingers the white tabloids.]
LARRY. Two each—after food. [He laughs and puts back the box] Oh! my girl!
[The sound of a piano playing a faint festive tune is heard afar off. He mutters, staring at the fire.] [Flames-flame, and flicker-ashes.]
"No more, no more, the moon is dead, And all the people in it."
[He sits on the couch with a piece of paper on his knees, adding a few words with a stylo pen to what is already written.] [The GIRL, in a silk wrapper, coming back through the curtains, watches him.]
LARRY. [Looking up] It's all here—I've confessed. [Reading]
"Please bury us together."
"LAURENCE DARRANT.
"January 28th, about six p.m."
They'll find us in the morning. Come and have supper, my dear love.
[The girl creeps forward. He rises, puts his arm round her, and with her arm twined round him, smiling into each other's faces, they go to the table and sit down.] The curtain falls for a few seconds to indicate the passage of three hours. When it rises again, the lovers are lying on the couch, in each other's arms, the lilies stream about them. The girl's bare arm is round LARRY'S neck. Her eyes are closed; his are open and sightless. There is no light but fire-light. A knocking on the door and the sound of a key turned in the lock. KEITH enters. He stands a moment bewildered by the half-light, then calls sharply: "Larry!" and turns up the light. Seeing the forms on the couch, he recoils a moment. Then, glancing at the table and empty decanters, goes up to the couch.
KEITH. [Muttering] Asleep! Drunk! Ugh!
[Suddenly he bends, touches LARRY, and springs back.]
What! [He bends again, shakes him and calls] Larry! Larry!
[Then, motionless, he stares down at his brother's open, sightless eyes. Suddenly he wets his finger and holds it to the girl's lips, then to LARRY'S.] [He bends and listens at their hearts; catches sight of the little box lying between them and takes it up.]
My God!
[Then, raising himself, he closes his brother's eyes, and as he does so, catches sight of a paper pinned to the couch; detaches it and reads:]
"I, Lawrence Darrant, about to die by my own hand confess that I——"
[He reads on silently, in horror; finishes, letting the paper drop, and recoils from the couch on to a chair at the dishevelled supper table. Aghast, he sits there. Suddenly he mutters:]
If I leave that there—my name—my whole future!
[He springs up, takes up the paper again, and again reads.]
My God! It's ruin!
[He makes as if to tear it across, stops, and looks down at those two; covers his eyes with his hand; drops the paper and rushes to the door. But he stops there and comes back, magnetised, as it were, by that paper. He takes it up once more and thrusts it into his pocket.] [The footsteps of a Policeman pass, slow and regular, outside. His face crisps and quivers; he stands listening till they die away. Then he snatches the paper from his pocket, and goes past the foot of the couch to the fore.]
All my——No! Let him hang!
[He thrusts the paper into the fire, stamps it down with his foot, watches it writhe and blacken. Then suddenly clutching his head, he turns to the bodies on the couch. Panting and like a man demented, he recoils past the head of the couch, and rushing to the window, draws the curtains and throws the window up for air. Out in the darkness rises the witch-like skeleton tree, where a dark shape seems hanging. KEITH starts back.]
What's that? What——!
[He shuts the window and draws the dark curtains across it again.]
Fool! Nothing!
[Clenching his fists, he draws himself up, steadying himself with all his might. Then slowly he moves to the door, stands a second like a carved figure, his face hard as stone.] [Deliberately he turns out the light, opens the door, and goes.] [The still bodies lie there before the fire which is licking at the last blackened wafer.]
CURTAIN
| THE FIRST SERIES: | The Silver Box | Joy | Strife |
| THE SECOND SERIES: | The Eldest Son | Little Dream | Justice |
| THE THIRD SERIES: | The Fugitive | The Pigeon | The Mob |
| THE FOURTH SERIES: | A Bit O'Love | The Foundations | The Skin Game |
| THE FIFTH SERIES: | A Family Man | Loyalties | Windows |
| THE SIXTH SERIES: | The First and Last | The Little Man | Four Short Plays |
End of the Project Gutenberg EBook of The First and The Last (Six Short
Plays), by John Galsworthy
*** END OF THIS PROJECT GUTENBERG EBOOK FIRST AND LAST ***
***** This file should be named 2918-h.htm or 2918-h.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/2/9/1/2918/
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
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
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
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm 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-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
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-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
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.
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-tm 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-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm 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-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
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-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm 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-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
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-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm 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 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
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
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
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (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-tm
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-tm 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-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm 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-tm
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-tm 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-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm 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
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm 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-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
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm 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-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. 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 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 protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread 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 https://pglaf.org
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 including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
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.
subscribe to our email newsletter to hear about new eBooks.