Molly Bawn Part 73

In vain Cecil strives to comfort; no thought comes to her but a mad craving for the busy day.

At last it comes, slowly, sweetly. The gray dawn deepens into rose, the sun flings abroad its young and chilly beams upon the earth. It is the opening of a glorious morn. How often have we noticed in our hours of direst grief how it is then Nature chooses to deck herself in all her fairest and best, as though to mock us with the very gayety and splendor of her charms!

At half-past seven an early train is starting. Long before that time she is dressed, with her hat and jacket on, fearful lest by any delay she should miss it; and when at length the carriage is brought round to the door she runs swiftly down the stairs to meet it.

In the hall below, awaiting her, stands Luttrell, ready to accompany her.

"Are you going, too?" Cecil asks, in a whisper, only half surprised.

"Yes, of course. I will take her myself to Brooklyn."

"I might have known you would," Cecil says, kindly, and then she kisses Molly, who hardly returns the caress, and puts her into the carriage, and, pressing Luttrell's hand warmly, watches them until they are driven out of her sight.

During all the long drive not one word does Molly utter. Neither does Luttrell, whose heart is bleeding for her. She takes no notice of him, expresses no surprise at his being with her.

At the station he takes her ticket, through bribery obtains an empty carriage, and, placing a rug round her, seats himself at the farthest end of the compartment from her,--so little does he seek to intrude upon her grief. And yet she takes no heed of him. He might, indeed, be absent, or the veriest stranger, so little does his presence seem to affect her. Leaning rather forward, with her hands clasped upon her knees, she scarcely stirs or raises her head throughout the journey, except to go from carriage to train, from train back again to carriage.

Once, during their last short drive from the station to Brooklyn, moved by compa.s.sion, he ventures to address her.

"I wish you could cry, my poor darling," he says, tenderly, taking her hand and fondling it between his own.

"Tears could not help me," she answers. And then, as though aroused by his voice, she says, uneasily, "Why are you here?"

"Because I am his friend and--yours," he returns, gently, making allowance for her small show of irritation.

"True," she says, and no more. Five minutes afterward they reach Brooklyn.

The door stands wide open. All the world could have entered unrebuked into that silent hall. What need now for bars and bolts? When the Great Thief has entered in and stolen from them their best, what heart have they to guard against lesser thefts?

Luttrell follows Molly into the house, his face no whit less white than her own. A great pain is tugging at him,--a pain that is almost an agony. For what greater suffering is there than to watch with unavailing sympathy the anguish of those we love?

He touches her lightly on the arm to rouse her, for she has stood stock-still in the very middle of the hall,--whether through awful fear, or grief, or sudden bitter memory, her heart knoweth.

"Molly," says her lover, "let me go with you."

"You still here?" she says, awaking from her thoughts, with a s.h.i.+ver.

"I thought you gone. Why do you stay? I only ask to be alone."

"I shall go in a few minutes," he pleads, "when I have seen you safe with Mrs. Ma.s.sereene. I am afraid for you. Suppose you should--suppose--you do not even know--_the_ room," he winds up, desperately. "Let me guard you against such an awful surprise as that."

"I do," she answers, pointing, with a shudder, to one room farther on that branches off the hall. "It--is there. Leave me; I shall be better by myself."

"I shall see you to-morrow?" he says, diffidently.

"No; I shall see no one to-morrow."

"Nevertheless, I shall call to know how you are," he says, persistently, and kissing one of her limp little hands, departs.

Outside on the gravel he meets the old man who for years has had care of the garden and general out-door work at Brooklyn.

"It is a terrible thing, sir," this ancient individual says, touching his hat to Luttrell, who had been rather a favorite with him during his stay last summer. He speaks without being addressed, feeling as though the sad catastrophe that has occurred has leveled some of the etiquette existing between master and man.

"Terrible indeed." And then, in a low tone, "How did it happen?"

"'Twas just this," says the old man, who is faithful, and has understood for many years most of John Ma.s.sereene's affairs, having lived with him from boy to man; "'twas money that did it. He had invested all he had, as it might be, and he lost it, and the shock went to his heart and killed him. Poor soul! poor soul!"

"Disease of the heart. Who would have suspected it? And he has lost all. Surely something remains?"

"Only a few hundreds, sir, as I hear,--nothing to signify,--for the poor mistress and the wee bits. It is a fearful thing, sir, and bad to think of. And there's Miss Molly, too. I never could abide them spickilations, as they're called."

"Poor John Ma.s.sereene!" says Luttrell, taking off his hat. "He meant no harm to any one,--least of all to those who were nearest to his kindly heart."

"Ay, ay, man and boy I knew him. He was always kind and true, was the master,--with no two ways about him. When the letter came as told him all was gone, and that only beggary was before him, he said nothing, only went away to his study dazed like, an' read it, an' read it, and then fell down heart-broken upon the floor. Dead he was--stone dead--afore any of us came to him. The poor missis it was as found him first."

"It is too horrible," says Luttrell, shuddering. He nods his head to the old man and walks away from him down to the village inn, depressed and saddened.

The gardener's news has been worse than even he antic.i.p.ated. To be bereft of their dearest is bad enough, but to be thrown penniless on the mercies of the cold and cruel--nay, rather thoughtless--world is surely an aggravation of their misery. Death at all times is a calamity; but when it leaves the mourners without actual means of support, how much sadder a thing it is! To know one's comforts shall remain unimpaired after the loss of one's beloved is--in spite of all indignant denial--a solace to the most mournful.

CHAPTER XXVIII.

"As the earth when leaves are dead, As the night when sleep is sped, As the heart when joy is fled, I am left lone--alone."

--Sh.e.l.ley.

Meantime, Molly, having listened vaguely and without interest, yet with a curious intentness, to his parting footfalls, as the last one dies away draws herself up and, with a sigh or two, moves instinctively toward the door she had pointed out to Luttrell.

No one has told her, no hint has reached her ears. It is not his usual bedroom, yet she knows that within that door lies all that remains to her of the brother so fondly loved.

With slow and lagging steps, with bent head and averted eyes, she creeps tardily near, resting with her hand upon the lock to summon courage to meet what must be before her. She feels faint,--sick with a bodily sickness,--for never yet has she come face to face with Death.

At last, bringing her teeth firmly together, and closing her eyes, by an immense effort she compels herself to turn the handle of the door, and enters.

Let.i.tia is seated upon the floor beside the bed, her head lowered, her hands folded tightly in her lap. There is no appearance of mourning so far as garments are concerned. Of course, considering the shortness of the time, it would be impossible: yet it seems odd, out of keeping, that she should still be wearing that soft blue serge, which is a.s.sociated with so many happy hours.

She is not weeping: there are no traces, however faint, of tears. Her cheeks look a little thinner, more haggard, and she has lost the delicate girlish color that was her chief charm; but her eyes, though black circles surround them,--so black as to suggest the appliance of art,--have an unnatural brilliancy that utterly precludes the possibility of crying.

Some one has pulled a piece of the blind to one side, and a fitful gleam of sunlight, that dances in a heartless manner, flickers in and out of the room, nay, even strays in its ghastly mirth across the bed where the poor body lies.

As Molly walks, or rather drags her limbs after her, into the chamber (so deadly is the terror that has seized upon her), Let.i.tia slowly raises her eyes.

She evinces no surprise at her sister's home-coming.

"There is all that is left you," she says, in a hard, slow voice, that makes Molly s.h.i.+ver, turning her head in the direction of the bed, and opening and shutting her hands with a peculiarly expressive, empty gesture. Afterward she goes back to her original position, her face bent downward, her body swaying gently to and fro.