## The Project Gutenberg eBook of The Tale of Mr. Tod

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

Title: The Tale of Mr. Tod

Author: Beatrix Potter

Release date: November 14, 2006 [eBook #19805]

Language: English

Other information and formats: www.gutenberg.org/ebooks/19805

Credits: Produced by Robert Cicconetti, Michael Ciesielski and the
Online Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE TALE OF MR. TOD ***

[Pg 1]

[Pg 2]

# THE TALE OF
MR. TOD

### BY

## BEATRIX POTTER

Author of
"The Tale of Peter Rabbit," etc.

FREDERICK WARNE & CO., INC.
NEW YORK[Pg 3]

COPYRIGHT, 1912
BY
FREDERICK WARNE & Co.
Copyright renewed 1940
(All rights reserved)
PRINTED AND BOUND IN THE USA
ROSE PRINTING CO INC
ISBN O 7232 0605 8
12 13 14 15 16 17 18 19 20 (C)
[Pg 4]

FOR
FRANCIS WILLIAM OF ULVA
——SOMEDAY!
[Pg 6][Pg 5]

## THE TALE OF MR. TOD

I have made many books about well-behaved people. Now, for a change, I am going to make a story about two disagreeable people, called Tommy Brock and Mr. Tod.

Nobody could call Mr. Tod "nice." The rabbits could not bear him; they could smell him half a mile off. He was of a wandering habit and he had foxey whiskers; they never knew where he would be next.[Pg 7]

One day he was living in a stick-house in the coppice, causing terror to the family of old Mr. Benjamin Bouncer. Next day he moved into a pollard willow near the lake, frightening the wild ducks and the water rats.

In winter and early spring he might generally be found in an earth amongst the rocks at the top of Bull Banks, under Oatmeal Crag.

[Pg 9]

He had half a dozen houses, but he was seldom at home.[Pg 8]

The houses were not always empty when Mr. Tod moved out; because sometimes Tommy Brock moved in; (without asking leave).

Tommy Brock was a short bristly fat waddling person with a grin; he grinned all over his face. He was not nice in his habits. He ate wasp nests and frogs and worms; and he waddled about by moonlight, digging things up.

His clothes were very dirty; and as he slept in the day-time, he always went to bed in his boots. And the bed which he went to bed in, was generally Mr. Tod's.

Now Tommy Brock did occasionally eat rabbit-pie; but it was only very little young ones occasionally, when other food was really scarce. He was friendly with old Mr. Bouncer; they agreed in disliking[Pg 10] the wicked otters and Mr. Tod; they often talked over that painful subject.

Old Mr. Bouncer was stricken in years. He sat in the spring sunshine outside the burrow, in a muffler; smoking a pipe of rabbit tobacco.

He lived with his son Benjamin Bunny and his daughter-in-law Flopsy, who had a young family. Old Mr. Bouncer was in charge of the family that afternoon, because Benjamin and Flopsy had gone out.

[Pg 11]

The little rabbit-babies were just old enough to open their blue eyes and kick. They lay in a fluffy bed of rabbit wool and hay, in a shallow burrow, separate from the main rabbit hole. To tell the truth—old Mr. Bouncer had forgotten them.

He sat in the sun, and conversed cordially with Tommy Brock, who was passing through the wood with a sack and a little spud which he used for digging, and some mole traps. He complained bitterly about the[Pg 14][Pg 13][Pg 12] scarcity of pheasants' eggs, and accused Mr. Tod of poaching them. And the otters had cleared off all the frogs while he was asleep in winter—"I have not had a good square meal for a fortnight, I am living on pig-nuts. I shall have to turn vegetarian and eat my own tail!" said Tommy Brock.

It was not much of a joke, but it tickled old Mr. Bouncer; because Tommy Brock was so fat and stumpy and grinning.

So old Mr. Bouncer laughed; and pressed Tommy Brock to come inside, to taste a slice of seed-cake and "a glass of my daughter Flopsy's cowslip wine." Tommy Brock squeezed himself into the rabbit hole with alacrity.[Pg 15]

Then old Mr. Bouncer smoked another pipe, and gave Tommy Brock a cabbage leaf cigar which was so very strong that it made Tommy Brock grin more than ever; and the smoke filled the burrow. Old Mr. Bouncer coughed and laughed; and Tommy Brock puffed and grinned.

And Mr. Bouncer laughed and coughed, and shut his eyes because of the cabbage smoke . . .[Pg 16]

When Flopsy and Benjamin came back—old Mr. Bouncer woke up. Tommy Brock and all the young rabbit-babies had disappeared!

Mr. Bouncer would not confess that he had admitted anybody into the rabbit hole. But the smell of badger was undeniable; and there were round heavy footmarks in the sand. He was in disgrace; Flopsy wrung her ears, and slapped him.

[Pg 17]

Benjamin Bunny set off at once after Tommy Brock.

There was not much difficulty in tracking him; he had left his foot-mark and gone slowly up the winding footpath through the wood. Here he had rooted up the moss and wood sorrel. There he had dug quite a deep hole for dog darnel; and had set a mole trap. A little stream crossed the way. Benjamin skipped lightly over dry-foot; the badger's heavy steps showed plainly in the mud.

The path led to a part of the thicket where the trees had been cleared; there were leafy oak stumps, and a sea of blue hyacinths—but the smell that made Benjamin stop, was not the smell of flowers![Pg 18]

Mr. Tod's stick house was before him and, for once, Mr. Tod was at home. There was not only a foxey flavour in proof of it—there was smoke coming out of the broken pail that served as a chimney.

Benjamin Bunny sat up, staring; his whiskers twitched. Inside the stick house somebody dropped a plate, and said something. Benjamin stamped his foot, and bolted.[Pg 21]

He never stopped till he came to the other side of the wood. Apparently Tommy Brock had turned the same way. Upon the top of the wall, there were again the marks of badger; and some ravellings of a sack had caught on a briar.

Benjamin climbed over the wall, into a meadow. He found another mole trap newly set; he was still upon the track of Tommy Brock. It was getting late in the afternoon. Other rabbits were coming out to enjoy the evening air. One of them in a blue coat by himself, was busily hunting for dandelions.—"Cousin Peter! Peter Rabbit, Peter Rabbit!" shouted Benjamin Bunny.

The blue coated rabbit sat up with pricked ears[Pg 22]—

"Whatever is the matter, Cousin Benjamin? Is it a cat? or John Stoat Ferret?"

"No, no, no! He's bagged my family—Tommy Brock—in a sack—have you seen him?"

"Tommy Brock? how many, Cousin Benjamin?"

"Seven, Cousin Peter, and all of them twins! Did he come this way? Please tell me quick!"[Pg 23]

"Yes, yes; not ten minutes since ... he said they were caterpillars; I did think they were kicking rather hard, for caterpillars."

"Which way? which way has he gone, Cousin Peter?"

"He had a sack with something 'live in it; I watched him set a mole trap. Let me use my mind, Cousin Benjamin; tell me from the beginning." Benjamin did so.[Pg 25][Pg 24]

[Pg 26]

"My Uncle Bouncer has displayed a lamentable want of discretion for his years;" said Peter reflectively, "but there are two hopeful circumstances. Your family is alive and kicking; and Tommy Brock has had refreshment. He will probably go to sleep, and keep them for breakfast." "Which way?" "Cousin Benjamin, compose yourself. I know very well which way. Because Mr. Tod was at home in the stick-house he has gone to Mr. Tod's other house, at the top of Bull Banks. I partly know, because he offered to leave any message at Sister Cottontail's; he said he would be passing." (Cottontail had married a black rabbit, and gone to live on the hill).[Pg 27]

Peter hid his dandelions, and accompanied the afflicted parent, who was all of a twitter. They crossed several fields and began to climb the hill; the tracks of Tommy Brock were plainly to be seen. He seemed to have put down the sack every dozen yards, to rest.

"He must be very puffed; we are close behind him, by the scent. What a nasty person!" said Peter.

[Pg 28]

The sunshine was still warm and slanting on the hill pastures. Half way up, Cottontail was sitting in her doorway, with four or five half-grown little rabbits playing about her; one black and the others brown.

Cottontail had seen Tommy Brock passing in the distance. Asked whether her husband was at home she replied that Tommy Brock had rested twice while she watched him.[Pg 29]

He had nodded, and pointed to the sack, and seemed doubled up with laughing.—"Come away, Peter; he will be cooking them; come quicker!" said Benjamin Bunny.

They climbed up and up;—"He was at home; I saw his black ears peeping out of the hole." "They live too near the rocks to quarrel with their neighbours. Come on, Cousin Benjamin!"

When they came near the wood at the top of Bull Banks, they went cautiously. The trees grew amongst heaped up rocks; and there, beneath a crag—Mr. Tod had made one of his homes. It was at the top of a steep bank; the rocks and bushes overhung it. The rabbits crept up carefully, listening and peeping.[Pg 30]

[Pg 32][Pg 31]

This house was something between a cave, a prison, and a tumbledown pig-stye. There was a strong door, which was shut and locked.

The setting sun made the window panes glow like red flame; but the kitchen fire was not alight. It was neatly laid with dry sticks, as the rabbits could see, when they peeped through the window.

Benjamin sighed with relief.[Pg 33]

But there were preparations upon the kitchen table which made him shudder. There was an immense empty pie-dish of blue willow pattern, and a large carving knife and fork, and a chopper.

At the other end of the table was a partly unfolded tablecloth, a plate, a tumbler, a knife and fork, salt-cellar, mustard and a chair—in short, preparations for one person's supper.[Pg 34]

No person was to be seen, and no young rabbits. The kitchen was empty and silent; the clock had run down. Peter and Benjamin flattened their noses against the window, and stared into the dusk.

Then they scrambled round the rocks to the other side of the house. It was damp and smelly, and overgrown with thorns and briars.

The rabbits shivered in their shoes.[Pg 35]

"Oh my poor rabbit babies! What a dreadful place; I shall never see them again!" sighed Benjamin.

They crept up to the bedroom window. It was closed and bolted like the kitchen. But there were signs that this window had been recently open; the cobwebs were disturbed, and there were fresh dirty footmarks upon the window-sill.

The room inside was so dark, that at first they could make out nothing; but they could hear a noise—a slow deep regular snoring grunt. And as their eyes became accustomed to the darkness, they perceived that somebody was asleep on Mr. Tod's bed, curled up under the blanket.—"He has gone to bed in his boots," whispered Peter.[Pg 37][Pg 36]

[Pg 38]

Benjamin, who was all of a twitter, pulled Peter off the window-sill.

Tommy Brock's snores continued, grunty and regular from Mr. Tod's bed. Nothing could be seen of the young family.

The sun had set; an owl began to hoot in the wood. There were many unpleasant things lying about, that had much better have been buried; rabbit bones and skulls, and chickens' legs and other horrors. It was a shocking place, and very dark.

They went back to the front of the house, and tried in every way to move the bolt of the kitchen window. They tried to push up a rusty nail between the window sashes; but it was of no use, especially without a light.[Pg 39]

They sat side by side outside the window, whispering and listening.

In half an hour the moon rose over the wood. It shone full and clear and cold, upon the house amongst the rocks, and in at the kitchen window. But alas, no little rabbit babies were to be seen!

The moonbeams twinkled on the carving knife and the pie dish, and made a path of brightness across the dirty floor.

The light showed a little door in[Pg 40] a wall beside the kitchen fireplace—a little iron door belonging to a brick oven, of that old-fashioned sort that used to be heated with faggots of wood.

And presently at the same moment Peter and Benjamin noticed that whenever they shook the window—the little door opposite shook in answer. The young family were alive; shut up in the oven!

[Pg 41]

Benjamin was so excited that it was a mercy he did not awake Tommy Brock, whose snores continued solemnly in Mr. Tod's bed.

But there really was not very much comfort in the discovery. They could not open the window; and although the young family was alive—the little rabbits were quite incapable of letting themselves out; they were not old enough to crawl.

After much whispering, Peter and Benjamin decided to dig a tunnel. They began to burrow a yard or two lower down the bank. They hoped that they might be able to work between the large stones under the house; the kitchen floor was so dirty that it was impossible to say whether it was made of earth or flags.[Pg 42]

[Pg 44][Pg 43]

They dug and dug for hours. They could not tunnel straight on account of stones; but by the end of the night they were under the kitchen floor. Benjamin was on his back, scratching upwards. Peter's claws were worn down; he was outside the tunnel, shuffling sand away. He called out that it was morning—sunrise; and that the jays were making a noise down below in the woods.

Benjamin Bunny came out of the dark tunnel, shaking the sand from his ears; he cleaned his face with his paws. Every minute the sun shone warmer on the top of the hill. In the valley there was a sea of white mist, with golden tops of trees showing through.[Pg 45]

Again from the fields down below in the mist there came the angry cry of a jay—followed by the sharp yelping bark of a fox!

Then those two rabbits lost their heads completely. They did the most foolish thing that they could have done. They rushed into their short new tunnel, and hid themselves at the top end of it, under Mr. Tod's kitchen floor.

[Pg 46]

Mr. Tod was coming up Bull Banks, and he was in the very worst of tempers. First he had been upset by breaking the plate. It was his own fault; but it was a china plate, the last of the dinner service that had belonged to his grandmother, old Vixen Tod. Then the midges had been very bad. And he had failed to catch a hen pheasant on her nest; and it had contained only five eggs, two of them addled. Mr. Tod had had an unsatisfactory night.[Pg 47]

As usual, when out of humour, he determined to move house. First he tried the pollard willow, but it was damp; and the otters had left a dead fish near it. Mr. Tod likes nobody's leavings but his own.

He made his way up the hill; his temper was not improved by noticing unmistakable marks of badger. No one else grubs up the moss so wantonly as Tommy Brock.[Pg 49][Pg 48]

[Pg 50]

Mr. Tod slapped his stick upon the earth and fumed; he guessed where Tommy Brock had gone to. He was further annoyed by the jay bird which followed him persistently. It flew from tree to tree and scolded, warning every rabbit within hearing that either a cat or a fox was coming up the plantation. Once when it flew screaming over his head—Mr. Tod snapped at it, and barked.

He approached his house very carefully, with a large rusty key. He sniffed and his whiskers bristled. The house was locked up, but Mr. Tod had his doubts whether it was empty. He turned the rusty key in the lock; the rabbits below could hear it. Mr. Tod opened the door cautiously and went in.[Pg 51]

The sight that met Mr. Tod's eyes in Mr. Tod's kitchen made Mr. Tod furious. There was Mr. Tod's chair, and Mr. Tod's pie dish, and his knife and fork and mustard and salt cellar and his table-cloth that he had left folded up in the dresser—all set out for supper (or breakfast)—without doubt for that odious Tommy Brock.

There was a smell of fresh earth and dirty badger, which fortunately[Pg 52] overpowered all smell of rabbit.

But what absorbed Mr. Tod's attention was a noise—a deep slow regular snoring grunting noise, coming from his own bed.

He peeped through the hinges of the half-open bedroom door. Then he turned and came out of the house in a hurry. His whiskers bristled and his coat-collar stood on end with rage.

[Pg 53]

For the next twenty minutes Mr. Tod kept creeping cautiously into the house, and retreating hurriedly out again. By degrees he ventured further in—right into the bedroom. When he was outside the house, he scratched up the earth with fury. But when he was inside—he did not like the look of Tommy Brock's teeth.

He was lying on his back with his mouth open, grinning from ear to ear. He snored peacefully and regularly; but one eye was not perfectly shut.

Mr. Tod came in and out of the bedroom. Twice he brought in his walking-stick, and once he brought in the coal-scuttle. But he thought better of it, and took them away.[Pg 54]

[Pg 56][Pg 55]

When he came back after removing the coal-scuttle, Tommy Brock was lying a little more sideways; but he seemed even sounder asleep. He was an incurably indolent person; he was not in the least afraid of Mr. Tod; he was simply too lazy and comfortable to move.

Mr. Tod came back yet again into the bedroom with a clothes line. He stood a minute watching Tommy Brock and listening attentively to the snores. They were very loud indeed, but seemed quite natural.

Mr. Tod turned his back towards the bed, and undid the window. It creaked; he turned round with a jump. Tommy Brock, who had opened one eye—shut it hastily. The snores continued.[Pg 57]

Mr. Tod's proceedings were peculiar, and rather uneasy, (because the bed was between the window and the door of the bedroom). He opened the window a little way, and pushed out the greater part of the clothes line on to the window sill. The rest of the line, with a hook at the end, remained in his hand.

Tommy Brock snored conscientiously. Mr. Tod stood and looked at him for a minute; then he left the room again.[Pg 58]

Tommy Brock opened both eyes, and looked at the rope and grinned. There was a noise outside the window. Tommy Brock shut his eyes in a hurry.

Mr. Tod had gone out at the front door, and round to the back of the house. On the way, he stumbled over the rabbit burrow. If he had had any idea who was inside it, he would have pulled them out quickly.

[Pg 59]

His foot went through the tunnel nearly upon the top of Peter Rabbit and Benjamin, but fortunately he thought that it was some more of Tommy Brock's work.

He took up the coil of line from the sill, listened for a moment, and then tied the rope to a tree.

Tommy Brock watched him with one eye, through the window. He was puzzled.

[Pg 61][Pg 60]

[Pg 62]

Mr. Tod fetched a large heavy pailful of water from the spring, and staggered with it through the kitchen into his bedroom.

Tommy Brock snored industriously, with rather a snort.

Mr. Tod put down the pail beside the bed, took up the end of rope with the hook—hesitated, and looked at Tommy Brock. The snores were almost apoplectic; but the grin was not quite so big.

Mr. Tod gingerly mounted a chair by the head of the bedstead. His legs were dangerously near to Tommy Brock's teeth.

He reached up and put the end of rope, with the hook, over the head of the tester bed, where the curtains ought to hang.[Pg 63]

(Mr. Tod's curtains were folded up, and put away, owing to the house being unoccupied. So was the counterpane. Tommy Brock was covered with a blanket only.) Mr. Tod standing on the unsteady chair looked down upon him attentively; he really was a first prize sound sleeper!

It seemed as though nothing would waken him—not even the flapping rope across the bed.

Mr. Tod descended safely from the chair, and endeavoured to get up again with the pail of water. He intended to hang it from the hook, dangling over the head of Tommy Brock, in order to make a sort of shower-bath, worked by a string, through the window.[Pg 64]

But naturally being a thin-legged person (though vindictive and sandy whiskered)—he was quite unable to lift the heavy weight to the level of the hook and rope. He very nearly overbalanced himself.

The snores became more and more apoplectic. One of Tommy Brock's hind legs twitched under the blanket, but still he slept on peacefully.[Pg 65]

Mr. Tod and the pail descended from the chair without accident. After considerable thought, he emptied the water into a wash-basin and jug. The empty pail was not too heavy for him; he slung it up wobbling over the head of Tommy Brock.

Surely there never was such a sleeper! Mr. Tod got up and down, down and up on the chair.

As he could not lift the whole pailful of water at once, he fetched a milk jug, and ladled quarts of water into the pail by degrees. The pail got fuller and fuller, and swung like a pendulum. Occasionally a drop splashed over; but still Tommy Brock snored regularly and never moved,—except one eye.[Pg 66]

[Pg 68][Pg 67]

At last Mr. Tod's preparations were complete. The pail was full of water; the rope was tightly strained over the top of the bed, and across the window sill to the tree outside.

"It will make a great mess in my bedroom; but I could never sleep in that bed again without a spring cleaning of some sort," said Mr. Tod.[Pg 69]

Mr. Tod took a last look at the badger and softly left the room. He went out of the house, shutting the front door. The rabbits heard his footsteps over the tunnel.

He ran round behind the house, intending to undo the rope in order to let fall the pailful of water upon Tommy Brock—

"I will wake him up with an unpleasant surprise," said Mr. Tod.[Pg 70]

The moment he had gone, Tommy Brock got up in a hurry; he rolled Mr. Tod's dressing-gown into a bundle, put it into the bed beneath the pail of water instead of himself, and left the room also—grinning immensely.

He went into the kitchen, lighted the fire and boiled the kettle; for the moment he did not trouble himself to cook the baby rabbits.

[Pg 71]

When Mr. Tod got to the tree, he found that the weight and strain had dragged the knot so tight that it was past untying. He was obliged to gnaw it with his teeth. He chewed and gnawed for more than twenty minutes. At last the rope gave way with such a sudden jerk that it nearly pulled his teeth out, and quite knocked him over backwards.[Pg 73][Pg 72]

[Pg 74]

Inside the house there was a great crash and splash, and the noise of a pail rolling over and over.

But no screams. Mr. Tod was mystified; he sat quite still, and listened attentively. Then he peeped in at the window. The water was dripping from the bed, the pail had rolled into a corner.

In the middle of the bed under the blanket, was a wet flattened something—much dinged in, in the middle where the pail had caught it (as it were across the tummy). Its head was covered by the wet blanket and it was not snoring any longer.

There was nothing stirring, and no sound except the drip, drop, drop drip of water trickling from the mattress.[Pg 75]

Mr. Tod watched it for half an hour; his eyes glistened.

Then he cut a caper, and became so bold that he even tapped at the window; but the bundle never moved.

Yes—there was no doubt about it—it had turned out even better than he had planned; the pail had hit poor old Tommy Brock, and killed him dead![Pg 76]

"I will bury that nasty person in the hole which he has dug. I will bring my bedding out, and dry it in the sun," said Mr. Tod.

"I will wash the tablecloth and spread it on the grass in the sun to bleach. And the blanket must be hung up in the wind; and the bed must be thoroughly disinfected, and aired with a warming-pan; and warmed with a hot-water bottle."

[Pg 77]

"I will get soft soap, and monkey soap, and all sorts of soap; and soda and scrubbing brushes; and persian powder; and carbolic to remove the smell. I must have a disinfecting. Perhaps I may have to burn sulphur."

He hurried round the house to get a shovel from the kitchen—"First I will arrange the hole—then I will drag out that person in the blanket...."

He opened the door....

Tommy Brock was sitting at Mr. Tod's kitchen table, pouring out tea from Mr. Tod's tea-pot into Mr. Tod's tea-cup. He was quite dry himself and grinning; and he threw the cup of scalding tea all over Mr. Tod.[Pg 78]

[Pg 80][Pg 79]

Then Mr. Tod rushed upon Tommy Brock, and Tommy Brock grappled with Mr. Tod amongst the broken crockery, and there was a terrific battle all over the kitchen. To the rabbits underneath it sounded as if the floor would give way at each crash of falling furniture.

They crept out of their tunnel, and hung about amongst the rocks and bushes, listening anxiously.[Pg 81]

Inside the house the racket was fearful. The rabbit babies in the oven woke up trembling; perhaps it was fortunate they were shut up inside.

Everything was upset except the kitchen table.

And everything was broken, except the mantelpiece and the kitchen fender. The crockery was smashed to atoms.[Pg 82]

The chairs were broken, and the window, and the clock fell with a crash, and there were handfuls of Mr. Tod's sandy whiskers.

The vases fell off the mantelpiece, the canisters fell off the shelf; the kettle fell off the hob. Tommy Brock put his foot in a jar of raspberry jam.

And the boiling water out of the kettle fell upon the tail of Mr. Tod.

[Pg 83]

When the kettle fell, Tommy Brock, who was still grinning, happened to be uppermost; and he rolled Mr. Tod over and over like a log, out at the door.

Then the snarling and worrying went on outside; and they rolled over the bank, and down hill, bumping over the rocks. There will never be any love lost between Tommy Brock and Mr. Tod.[Pg 85][Pg 84]

[Pg 86]

As soon as the coast was clear, Peter Rabbit and Benjamin Bunny came out of the bushes—

"Now for it! Run in, Cousin Benjamin! Run in and get them! while I watch at the door."

But Benjamin was frightened—

"Oh; oh! they are coming back!"

"No they are not."

"Yes they are!"

"What dreadful bad language! I think they have fallen down the stone quarry."

Still Benjamin hesitated, and Peter kept pushing him—

"Be quick, it's all right. Shut the oven door, Cousin Benjamin, so that he won't miss them."

Decidedly there were lively doings in Mr. Tod's kitchen![Pg 87]

At home in the rabbit hole, things had not been quite comfortable.

After quarrelling at supper, Flopsy and old Mr. Bouncer had passed a sleepless night, and quarrelled again at breakfast. Old Mr. Bouncer could no longer deny that he had invited company into the rabbit hole; but he refused to reply to the questions and reproaches of Flopsy. The day passed heavily.[Pg 88]

Old Mr. Bouncer, very sulky, was huddled up in a corner, barricaded with a chair. Flopsy had taken away his pipe and hidden the tobacco. She had been having a complete turn out and spring-cleaning, to relieve her feelings. She had just finished. Old Mr. Bouncer, behind his chair, was wondering anxiously what she would do next.

[Pg 89]

In Mr. Tod's kitchen, amongst the wreckage, Benjamin Bunny picked his way to the oven nervously, through a thick cloud of dust. He opened the oven door, felt inside, and found something warm and wriggling. He lifted it out carefully, and rejoined Peter Rabbit.

"I've got them! Can we get away? Shall we hide, Cousin Peter?"

Peter pricked his ears; distant sounds of fighting still echoed in the wood.

Five minutes afterwards two breathless rabbits came scuttering away down Bull Banks, half carrying half dragging a sack between them, bumpetty bump over the grass. They reached home safely and burst into the rabbit hole.[Pg 90]

[Pg 92][Pg 91]

Great was old Mr. Bouncer's relief and Flopsy's joy when Peter and Benjamin arrived in triumph with the young family. The rabbit-babies were rather tumbled and very hungry; they were fed and put to bed. They soon recovered.

A long new pipe and a fresh supply of rabbit tobacco was presented to Mr. Bouncer. He was rather upon his dignity; but he accepted.[Pg 93]

Old Mr. Bouncer was forgiven, and they all had dinner. Then Peter and Benjamin told their story—but they had not waited long enough to be able to tell the end of the battle between Tommy Brock and Mr. Tod.

## THE END

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

## THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works
1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

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

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

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

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg
Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.
Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.