"I Say No". Wilkie Collins Collins

with her face toward the trees, Emily started, dropped the character of Macbeth, and instantly became herself again: herself, with a rising color and an angry brightening of the eyes. “Excuse me, I can’t trust my memory: I must get the play.” With that abrupt apology, she walked away rapidly in the direction of the house.

      In some surprise, Francine turned, and looked at the trees. She discovered—in full retreat, on his side—the eccentric drawing-master, Alban Morris.

      Did he, too, admire the dagger-scene? And was he modestly desirous of hearing it recited, without showing himself? In that case, why should Emily (whose besetting weakness was certainly not want of confidence in her own resources) leave the garden the moment she caught sight of him? Francine consulted her instincts. She had just arrived at a conclusion which expressed itself outwardly by a malicious smile, when gentle Cecilia appeared on the lawn—a lovable object in a broad straw hat and a white dress, with a nosegay in her bosom—smiling, and fanning herself.

      “It’s so hot in the schoolroom,” she said, “and some of the girls, poor things, are so ill-tempered at rehearsal—I have made my escape. I hope you got your breakfast, Miss de Sor. What have you been doing here, all by yourself?”

      “I have been making an interesting discovery,” Francine replied.

      “An interesting discovery in our garden? What can it be?”

      “The drawing-master, my dear, is in love with Emily. Perhaps she doesn’t care about him. Or, perhaps, I have been an innocent obstacle in the way of an appointment between them.”

      Cecilia had breakfasted to her heart’s content on her favorite dish—buttered eggs. She was in such good spirits that she was inclined to be coquettish, even when there was no man present to fascinate. “We are not allowed to talk about love in this school,” she said—and hid her face behind her fan. “Besides, if it came to Miss Ladd’s ears, poor Mr. Morris might lose his situation.”

      “But isn’t it true?” asked Francine.

      “It may be true, my dear; but nobody knows. Emily hasn’t breathed a word about it to any of us. And Mr. Morris keeps his own secret. Now and then we catch him looking at her—and we draw our own conclusions.”

      “Did you meet Emily on your way here?”

      “Yes, and she passed without speaking to me.”

      “Thinking perhaps of Mr. Morris.”

      Cecilia shook her head. “Thinking, Francine, of the new life before her—and regretting, I am afraid, that she ever confided her hopes and wishes to me. Did she tell you last night what her prospects are when she leaves school?”

      “She told me you had been very kind in helping her. I daresay I should have heard more, if I had not fallen asleep. What is she going to do?”

      “To live in a dull house, far away in the north,” Cecilia answered; “with only old people in it. She will have to write and translate for a great scholar, who is studying mysterious inscriptions—hieroglyphics, I think they are called—found among the ruins of Central America. It’s really no laughing matter, Francine! Emily made a joke of it, too. ‘I’ll take anything but a situation as a governess,’ she said; ‘the children who have Me to teach them would be to be pitied indeed!’ She begged and prayed me to help her to get an honest living. What could I do? I could only write home to papa. He is a member of Parliament: and everybody who wants a place seems to think he is bound to find it for them. As it happened, he had heard from an old friend of his (a certain Sir Jervis Redwood), who was in search of a secretary. Being in favor of letting the women compete for employment with the men, Sir Jervis was willing to try, what he calls, ‘a female.’ Isn’t that a horrid way of speaking of us? and Miss Ladd says it’s ungrammatical, besides. Papa had written back to say he knew of no lady whom he could recommend. When he got my letter speaking of Emily, he kindly wrote again. In the interval, Sir Jervis had received two applications for the vacant place. They were both from old ladies—and he declined to employ them.”

      “Because they were old,” Francine suggested maliciously.

      “You shall hear him give his own reasons, my dear. Papa sent me an extract from his letter. It made me rather angry; and (perhaps for that reason) I think I can repeat it word for word:—‘We are four old people in this house, and we don’t want a fifth. Let us have a young one to cheer us. If your daughter’s friend likes the terms, and is not encumbered with a sweetheart, I will send for her when the school breaks up at midsummer.’ Coarse and selfish—isn’t it? However, Emily didn’t agree with me, when I showed her the extract. She accepted the place, very much to her aunt’s surprise and regret, when that excellent person heard of it. Now that the time has come (though Emily won’t acknowledge it), I believe she secretly shrinks, poor dear, from the prospect.”

      “Very likely,” Francine agreed—without even a pretense of sympathy. “But tell me, who are the four old people?”

      “First, Sir Jervis himself—seventy, last birthday. Next, his unmarried sister—nearly eighty. Next, his man-servant, Mr. Rook—well past sixty. And last, his man-servant’s wife, who considers herself young, being only a little over forty. That is the household. Mrs. Rook is coming to-day to attend Emily on the journey to the North; and I am not at all sure that Emily will like her.”

      “A disagreeable woman, I suppose?”

      “No—not exactly that. Rather odd and flighty. The fact is, Mrs. Rook has had her troubles; and perhaps they have a little unsettled her. She and her husband used to keep the village inn, close to our park: we know all about them at home. I am sure I pity these poor people. What are you looking at, Francine?”

      Feeling no sort of interest in Mr. and Mrs. Rook, Francine was studying her schoolfellow’s lovely face in search of defects. She had already discovered that Cecilia’s eyes were placed too widely apart, and that her chin wanted size and character.

      “I was admiring your complexion, dear,” she answered coolly. “Well, and why do you pity the Rooks?”

      Simple Cecilia smiled, and went on with her story.

      “They are obliged to go out to service in their old age, through a misfortune for which they are in no way to blame. Their customers deserted the inn, and Mr. Rook became bankrupt. The inn got what they call a bad name—in a very dreadful way. There was a murder committed in the house.”

      “A murder?” cried Francine. “Oh, this is exciting! You provoking girl, why didn’t you tell me about it before?”

      “I didn’t think of it,” said Cecilia placidly.

      “Do go on! Were you at home when it happened?”

      “I was here, at school.”

      “You saw the newspapers, I suppose?”

      “Miss Ladd doesn’t allow us to read newspapers. I did hear of it, however, in letters from home. Not that there was much in the letters. They said it was too horrible to be described. The poor murdered gentleman—”

      Francine was unaffectedly shocked. “A gentleman!” she exclaimed. “How dreadful!”

      “The poor man was a stranger in our part of the country,” Cecilia resumed; “and the police were puzzled about the motive for a murder. His pocketbook was missing; but his watch and his rings were found on the body. I remember the initials on his linen because they were the same as my mother’s initial before she was married—‘J. B.’ Really, Francine, that’s all I know about it.”

      “Surely you know whether the murderer was discovered?”

      “Oh, yes—of course I know that! The government offered a reward; and clever people were sent from London to help the county police. Nothing came of it. The murderer has never been discovered, from that time to this.”

      “When did it happen?”

      “It