The Dead Secret, Wilkie Collins [best historical biographies .TXT] 📗

Sarah looked up, and saw signs of convulsion beginning to disfigure the white face⁠—saw the fingers of the white, delicate hand getting crooked as they reached over toward the table on which the medicine-bottles were placed.

“You drank it all,” she cried, starting to her feet, as she comprehended the meaning of that gesture. “Mistress, dear mistress, you drank it all⁠—there is nothing but the opiate left. Let me go⁠—let me go and call⁠—”

A look from Mrs. Treverton stopped her before she could utter another word. The lips of the dying woman were moving rapidly. Sarah put her ear close to them. At first she heard nothing but panting, quick-drawn breaths⁠—then a few broken words mingled confusedly with them:

“I haven’t done⁠—you must swear⁠—close, close, come close⁠—a third thing⁠—your master⁠—swear to give it⁠—”

The last words died away very softly. The lips that had been forming them so laboriously parted on a sudden and closed again no more. Sarah sprang to the door, opened it, and called into the passage for help; then ran back to the bedside, caught up the sheet of notepaper on which she had written from her mistress’s dictation, and hid it in her bosom. The last look of Mrs. Treverton’s eyes fastened sternly and reproachfully on her as she did this, and kept their expression unchanged, through the momentary distortion of the rest of the features, for one breathless moment. That moment passed, and, with the next, the shadow which goes before the presence of death stole up and shut out the light of life in one quiet instant from all the face.

The doctor, followed by the nurse and by one of the servants, entered the room; and, hurrying to the bedside, saw at a glance that the time for his attendance there had passed away forever. He spoke first to the servant who had followed him.

“Go to your master,” he said, “and beg him to wait in his own room until I can come and speak to him.”

Sarah still stood⁠—without moving or speaking, or noticing anyone⁠—by the bedside.

The nurse, approaching to draw the curtains together, started at the sight of her face, and turned to the doctor.

“I think this person had better leave the room, Sir?” said the nurse, with some appearance of contempt in her tones and looks. “She seems unreasonably shocked and terrified by what has happened.”

“Quite right,” said the doctor. “It is best that she should withdraw.⁠—Let me recommend you to leave us for a little while,” he added, touching Sarah on the arm.

She shrank back suspiciously, raised one of her hands to the place where the letter lay hidden in her bosom, and pressed it there firmly, while she held out the other hand for a candle.

“You had better rest for a little in your own room,” said the doctor, giving her a candle. “Stop, though,” he continued, after a moment’s reflection. “I am going to break the sad news to your master, and I may find that he is anxious to hear any last words that Mrs. Treverton may have spoken in your presence. Perhaps you had better come with me, and wait while I go into Captain Treverton’s room.”

“No! no!⁠—oh, not now⁠—not now, for God’s sake!” Speaking those words in low, quick, pleading tones, and drawing back affrightedly to the door, Sarah disappeared without waiting a moment to be spoken to again.

“A strange woman!” said the doctor, addressing the nurse. “Follow her, and see where she goes to, in case she is wanted and we are obliged to send for her. I will wait here until you come back.”

When the nurse returned she had nothing to report but that she had followed Sarah Leeson to her own bedroom, had seen her enter it, had listened outside, and had heard her lock the door.

“A strange woman!” repeated the doctor. “One of the silent, secret sort.”

“One of the wrong sort,” said the nurse. “She is always talking to herself, and that is a bad sign, in my opinion. I distrusted her, Sir, the very first day I entered the house.”

The instant Sarah Leeson had turned the key of her bedroom door, she took the sheet of notepaper from its place of concealment in her bosom⁠—shuddering, when she drew it out, as if the mere contact of it hurt her⁠—placed it open on her little dressing-table, and fixed her eyes eagerly on the lines which the note contained. At first they swam and mingled together before her. She pressed her hands over her eyes, for a few minutes, and then looked at the writing again.

The characters were clear now⁠—vividly clear, and, as she fancied, unnaturally large and near to view. There was the address: “To my Husband”; there the first blotted line beneath, in her dead mistress’s handwriting; there the lines that followed, traced by her own pen, with the signature at the end⁠—Mrs. Treverton’s first, and then her own. The whole amounted to but very few sentences, written on one perishable fragment of paper, which the flame of a candle would have consumed in a moment. Yet there she sat, reading, reading, reading, over and over again; never touching the note, except when it was absolutely necessary to turn over the first page; never moving, never speaking, never raising her eyes from the paper. As a condemned prisoner might read his death-warrant, so did Sarah Leeson now read the few lines which she and her mistress had written together not half an hour since.

The secret of the paralyzing effect of that writing on her mind lay, not only in itself, but in the circumstances which had attended the act of its production.

The oath which had been proposed by Mrs. Treverton under no more serious influence than the last caprice of her disordered faculties, stimulated by confused remembrances of stage words and stage situations, had been accepted by Sarah Leeson as the most sacred and inviolable engagement to which she could bind herself. The threat of enforcing