Aclient has discussed with an attorney her desire to immediately transfer to a charity an office building she owns. although she fully supports the charity and hopes that it thrives, she has doubts about its long-term viability. the client wants to ensure that ownership of the office building will automatically be returned to her, or her heirs or devisees if she is not alive, if and when the charity ceases to use the office building for its charitable purpose. in drafting the deed, which of the following phrases should the attorney use to accomplish the client's goal? answers: a. "to [charity], provided that if [charity] ceases to use [office building] for [charitable purpose], ownership of [office building] will revert to [client], her heirs, devisees, or assigns."b. "to [charity], on the condition that if [charity] ceases to use [office building] for [charitable purpose], ownership of [office building] will revert to [client], her heirs, devisees, or assigns."c. "to [charity], so long as [charity] uses [office building] for [charitable purpose]."d. "to [charity], but if [charity] ceases to use [office building] for [charitable purpose], ownership of [office building] will revert to [client], her heirs, devisees, or assigns."

answer:

explanation:

they will talk your license

the answer is false

answer: it’s up to you!

explanation: believe what you want to believe unless that belief is damaging to someone/the environment.though, there’s no science to support the existence of ghosts. sometimes believing in a spirit such as a ghost can provide some comfort to ones self as they believe that their relatives are always watching over them and protecting them. yet believing in such spirits can make one feel paranoid as they believe someone is always watching and no matter how alone you feel there’s always someone there just watching, unable to interact.

Penny Woolcock’s low-budget thriller, The Principles of Lust, is a far more audacious attempt to picklock convention. But it’s a film that loses its grip at the first corner and the director fails to regain control.

There’s an honourable, if alarming, tradition of struggling writers waiting to shoot themselves in the foot in British movies, and Paul (Alec Newman) is the blocked and charming scribe in this bracing, slightly crazed, scenario. At an art exhibition, he falls in love with a sensible single mother, Juliette (Sienna Guillory). Then, for reasons best known to himself, Newman proceeds to throw away his new-found security by hanging out with Billy (Marc Warren), a scary Marquis de Sade figure who gambles ...