The Dead Alive

CHAPTER IX. THE ADVERTISEMENT. CHAPTER IX. THE ADVERTISEMENT. I WAITED in silence for the disclosure that was now to come. Naomi began by asking me a question. “You remember when we went to see Ambrose in the prison?” she said. “Perfectly.” “Ambrose told us of something which his villain of a brother said of John Jago and me. Do you remember what it was?” I remembered perfectly. Silas had said, “John Jago is too sweet on Naomi not to come back.” “That’s so,” Naomi remarked when I had repeated the words. “I couldn’t help starting when I heard what Silas had said; and I thought you noticed me.” “I did notice you.” “Did you wonder what it meant?” “Yes.” “I’ll tell you. It meant this: What Silas Meadowcroft said to his brother of John Jago was what I myself was thinking of John Jago at that very moment. It startled me to find my own thought in a man’s mind spoken for me by a man. I am the person, sir, who has driven John Jago away from Morwick Farm; and I am the person who can and will bring him back again.” There was something in her manner, more than in her words, which let the light in suddenly on my mind. “You have told me the secret,” I said. “John Jago is in love with you.” “Mad about me!” she rejoined, dropping her voice to a whisper. “Stark, staring mad!—that’s the only word for him. After we had taken a few turns on the gravel-walk, he suddenly broke out like a man beside himself. He fell down on his knees; he kissed my gown, he kissed my feet; he sobbed and cried for love of me. I’m not badly off for courage, sir, considering I’m a woman. No man, that I can call to mind, ever really scared me before. But I own John Jago frightened me; oh my! he did frighten me! My heart was in my mouth, and my knees shook under me. I begged and prayed of him to get up and go away. No; there he knelt, and held by the skirt of my gown. The words poured out from him like—well, like nothing I can think of but water from a pump. His happiness and his life, and his hopes in earth and heaven, and Lord only knows what besides, all depended, he said, on a word from me. I plucked up spirit enough at that to remind him that I was promised to Ambrose. ‘I think you ought to be ashamed of yourself,’ I said, ‘to own that you’re wicked enough to love me when you know I am promised to another man!’ When I spoke to him he took a new turn; he began abusing Ambrose. That straightened me up. I snatched my gown out of his hand, and I gave him my whole mind. ‘I hate you!’ I said. ‘Even if I wasn’t promised to Ambrose, I wouldn’t marry you—no! not if there wasn’t another man left in the world to ask me. I hate you, Mr. Jago! I hate you!’ He saw I was in earnest at last. He got up from my feet, and he settled down quiet again, all on a sudden. ‘You have said enough’ (that was how he answered me). ‘You have broken my life. I have no hopes and no prospects now. I had a pride in the farm, miss, and a pride in my work; I bore with your brutish cousins’ hatred of me; I was faithful to Mr. Meadowcroft’s interests; all for your sake, Naomi Colebrook—all for your sake! I have done with it now; I have done with my life at the farm. You will never be troubled with me again. I am going away, as the dumb creatures go when they are sick, to hide myself in a corner, and die. Do me one last favor. Don’t make me the laughing-stock of the whole neighborhood. I can’t bear that; it maddens me only to think of it. Give me your promise never to tell any living soul what I have said to you to-night—your sacred promise to the man whose life you have broken!’ I did as he bade me; I gave him my sacred promise with the tears in my eyes. Yes, that is so. After telling him I hated him (and I did hate him), I cried over his misery; I did! Mercy, what fools women are! What is the horrid perversity, sir, which makes us always ready to pity the men? He held out his hand to me; and he said, ‘Good-by forever!’ and I pitied him. I said, ‘I’ll shake hands with you if you will give me your promise in exchange for mine. I beg of you not to leave the farm. What will my uncle do if you go away? Stay here, and be friends with me, and forget and forgive, Mr. John.’ He gave me his promise (he can refuse me nothing); and he gave it again when I saw him again the next morning. Yes. I’ll do him justice, though I do hate him! I believe he honestly meant to keep his word as long as my eye was on him. It was only when he was left to himself that the Devil tempted him to break his promise and leave the farm. I was brought up to believe in the Devil, Mr. Lefrank; and I find it explains many things. It explains John Jago. Only let me find out where he has gone, and I’ll engage he shall come back and clear Ambrose of the suspicion which his vile brother has cast on him. Here is the pen all ready for you. Advertise for him, friend Lefrank; and do it right away, for my sake!” I let her run on, without attempting to dispute her conclusions, until she could say no more. When she put the pen into my hand, I began the composition of the advertisement as obediently as if I, too, believed that John Jago was a living man. In the case of any one else, I should have openly acknowledged that my own convictions remained unshaken. If no quarrel had taken place at the lime-kiln, I should have been quite ready, as I viewed the case, to believe that John Jago’s disappearance was referable to the terrible disappointment which Naomi had inflicted on him. The same morbid dread of ridicule which had led him to assert that he cared nothing for Naomi, when he and Silas had quarreled under my bedroom window, might also have impelled him to withdraw himself secretly and suddenly from the scene of his discomfiture. But to ask me to believe, after what had happened at the lime-kiln, that he was still living, was to ask me to take Ambrose Meadowcroft’s statement for granted as a true statement of facts. I had refused to do this from the first; and I still persisted in taking that course. If I had been called upon to decide the balance of probability between the narrative related by Ambrose in his defense and the narrative related by Silas in his confession, I must have owned, no matter how unwillingly, that the confession was, to my mind, the least incredible story of the two. Could I say this to Naomi? I would have written fifty advertisements inquiring for John Jago rather than say it; and you would have done the same, if you had been as fond of her as I was. I drew out the advertisement, for insertion in the Morwick Mercury , in these terms: MURDER.—Printers of newspapers throughout the United States are desired to publish that Ambrose Meadowcroft and Silas Meadowcroft, of Morwick Farm, Morwick County, are committed for trial on the charge of murdering John Jago, now missing from the farm and from the neighborhood. Any person who can give information of the existence of said Jago may save the lives of two wrongly-accused men by making immediate communication. Jago is about five feet four inches high. He is spare and wiry; his complexion is extremely pale, his eyes are dark, and very bright and restless. The lower part of his face is concealed by a thick black beard and mustache. The whole appearance of the man is wild and flighty. I added the date and the address. That evening a servant was sent on horseback to Narrabee to procure the insertion of the advertisement in the next issue of the newspaper. When we parted that night, Naomi looked almost like her brighter and happier self. Now that the advertisement was on its way to the printing-office, she was more than sanguine: she was certain of the result. “You don’t know how you have comforted me,” she said, in her frank, warm-hearted way, when we parted for the night. “All the newspapers will copy it, and we shall hear of John Jago before the week is out.” She turned to go, and came back again to me. “I will never forgive Silas for writing that confession!” she whispered in my ear. “If he ever lives under the same roof with Ambrose again, I—well, I believe I wouldn’t marry Ambrose if he did! There!” She left me. Through the wakeful hours of the night my mind dwelt on her last words. That she should contemplate, under any circumstances, even the bare possibility of not marrying Ambrose, was, I am ashamed to say, a direct encouragement to certain hopes which I had already begun to form in secret. The next day’s mail brought me a letter on business. My clerk wrote to inquire if there was any chance of my returning to England in time to appear in court at the opening of next law term. I answered, without hesitation, “It is still impossible for me to fix the date of my return.” Naomi was in the room while I was writing. How would she have answered, I wonder, if I had told her the truth, and said, “You are responsible for this letter?” CHAPTER X. THE SHERIFF AND THE GOVERNOR. THE question of time was now a serious question at Morwick Farm. In six weeks the court for the trial of criminal cases was to be opened at Narrabee. During this interval no new event of any importance occurred. Many idle letters reached us relating to the advertisement for John Jago; but no positive information was received. Not the slightest trace of the lost man turned up; not the shadow of a doubt was cast on the assertion of the prosecution, that his body had been destroyed in the kiln. Silas Meadowcroft held firmly to the horrible confession that he had made. His brother Ambrose, with equal resolution, asserted his innocence, and reiterated the statement which he had already advanced. At regular periods I accompanied Naomi to visit him in the prison. As the day appointed for the opening of the court approached, he seemed to falter a little in his resolution; his manner became restless; and he grew irritably suspicious about the merest trifles. This change did not necessarily imply the consciousness of guilt: it might merely have indicated natural nervous agitation as the time for the trial drew near. Naomi noticed the alteration in her lover. It greatly increased her anxiety, though it never shook her confidence in Ambrose. Except at meal-times, I was left, during the period of which I am now writing, almost constantly alone with the charming American girl. Miss Meadowcroft searched the newspapers for tidings of the living John Jago in the privacy of her own room. Mr. Meadowcroft would see nobody but his daughter and his doctor, and occasionally one or two old friends. I have since had reason to believe that Naomi, in these days of our intimate association, discovered the true nature of the feeling with which she had inspired me. But she kept her secret. Her manner toward me steadily remained the manner of a sister; she never overstepped by a hair-breadth the safe limits of the character that she had assumed. The sittings of the court began. After hearing the evidence, and examining the confession of Silas Meadowcroft, the grand jury found a true bill against both the prisoners. The day appointed for their trial was the first day in the new week. I had carefully prepared Naomi’s mind for the decision of the grand jury. She bore the new blow bravely. “If you are not tired of it,” she said, “come with me to the prison tomorrow. Ambrose will need a little comfort by that time.” She paused, and looked at the day’s letters lying on the table. “Still not a word about John Jago,” she said. “And all the papers have copied the advertisement. I felt so sure we should hear of him long before this!” “Do you still feel sure that he is living?” I ventured to ask. “I am as certain of it as ever,” she replied, firmly. “He is somewhere in hiding; perhaps he is in disguise. Suppose we know no more of him than we know now when the trial begins? Suppose the jury—” She stopped, shuddering. Death—shameful death on the scaffold—might be the terrible result of the consultation of the jury. “We have waited for news to come to us long enough,” Naomi resumed. “We must find the tracks of John Jago for ourselves. There is a week yet before the trial begins. Who will help me to make inquiries? Will you be the man, friend Lefrank?” It is needless to add (though I knew nothing would come of it) that I consented to be the man. We arranged to apply that day for the order of admission to the prison, and, having seen Ambrose, to devote ourselves immediately to the contemplated search. How that search was to be conducted was more than I could tell, and more than Naomi could tell. We were to begin by applying to the police to help us to find John Jago, and we were then to be guided by circumstances. Was there ever a more hopeless programme than this? “Circumstances” declared themselves against us at starting. I applied, as usual, for the order of admission to the prison, and the order was for the first time refused; no reason being assigned by the persons in authority for taking this course. Inquire as I might, the only answer given was, “not to-day.” At Naomi’s suggestion, we went to the prison to seek the explanation which was refused to us at the office. The jailer on duty at the outer gate was one of Naomi’s many admirers. He solved the mystery cautiously in a whisper. The sheriff and the governor of the prison were then speaking privately with Ambrose Meadowcroft in his cell; they had expressly directed that no persons should be admitted to see the prisoner that day but themselves. What did it mean? We returned, wondering, to the farm. There Naomi, speaking by chance to one of the female servants, made certain discoveries. Early that morning the sheriff had been brought to Morwick by an old friend of the Meadowcrofts. A long interview had been held between Mr. Meadowcroft and his daughter and the official personage introduced by the friend. Leaving the farm, the sheriff had gone straight to the prison, and had proceeded with the governor to visit Ambrose in his cell. Was some potent influence being brought privately to bear on Ambrose? Appearances certainly suggested that inquiry. Supposing the influence to have been really exerted, the next question followed, What was the object in view? We could only wait and see. Our patience was not severely tried. The event of the next day enlightened us in a very unexpected manner. Before noon, the neighbors brought startling news from the prison to the farm. Ambrose Meadowcroft had confessed himself to be the murderer of John Jago! He had signed the confession in the presence of the sheriff and the governor on that very day. I saw the document. It is needless to reproduce it here. In substance, Ambrose confessed what Silas had confessed; claiming, however, to have only struck Jago under intolerable provocation, so as to reduce the nature of his offense against the law from murder to manslaughter. Was the confession really the true statement of what had taken place? or had the sheriff and the governor, acting in the interests of the family name, persuaded Ambrose to try this desperate means of escaping the ignominy of death on the scaffold? The sheriff and the governor preserved impenetrable silence until the pressure put on them judicially at the trial obliged them to speak. Who was to tell Naomi of this last and saddest of all the calamities which had fallen on her? Knowing how I loved her in secret, I felt an invincible reluctance to be the person who revealed Ambrose Meadowcroft’s degradation to his betrothed wife. Had any other member of the family told her what had happened? The lawyer was able to answer me; Miss Meadowcroft had told her. I was shocked when I heard it. Miss Meadowcroft was the last person in the house to spare the poor girl; Miss Meadowcroft would make the hard tidings doubly terrible to bear in the telling. I tried to find Naomi, without success. She had been always accessible at other times. Was she hiding herself from me now? The idea occurred to me as I was descending the stairs after vainly knocking at the door of her room. I was determined to see her. I waited a few minutes, and then ascended the stairs again suddenly. On the landing I met her, just leaving her room. She tried to run back. I caught her by the arm, and detained her. With her free hand she held her handkerchief over her face so as to hide it from me. “You once told me I had comforted you,” I said to her, gently. “Won’t you let me comfort you now?” She still struggled to get away, and still kept her head turned from me. “Don’t you see that I am ashamed to look you in the face?” she said, in low, broken tones. “Let me go.” I still persisted in trying to soothe her. I drew her to the window-seat. I said I would wait until she was able to speak to me. She dropped on the seat, and wrung her hands on her lap. Her downcast eyes still obstinately avoided meeting mine. “Oh!” she said to herself, “what madness possessed me? Is it possible that I ever disgraced myself by loving Ambrose Meadowcroft?” She shuddered as the idea found its way to expression on her lips. The tears rolled slowly over her cheeks. “Don’t despise me, Mr. Lefrank!” she said, faintly. I tried, honestly tried, to put the confession before her in its least unfavorable light. “His resolution has given way,” I said. “He has done this, despairing of proving his innocence, in terror of the scaffold.” She rose, with an angry stamp of her foot. She turned her face on me with the deep-red flush of shame in it, and the big tears glistening in her eyes. “No more of him!” she said, sternly. “If he is not a murderer, what else is he? A liar and a coward! In which of his characters does he disgrace me most? I have done with him forever! I will never speak to him again!” She pushed me furiously away from her; advanced a few steps toward her own door; stopped, and came back to me. The generous nature of the girl spoke in her next words. “I am not ungrateful to you , friend Lefrank. A woman in my place is only a woman; and, when she is shamed as I am, she feels it very bitterly. Give me your hand! God bless you!” She put my hand to her lips before I was aware of her, and kissed it, and ran back into her room. I sat down on the place which she had occupied. She had looked at me for one moment when she kissed my hand. I forgot Ambrose and his confession; I forgot the coming trial; I forgot my professional duties and my English friends. There I sat, in a fool’s elysium of my own making, with absolutely nothing in my mind but the picture of Naomi’s face at the moment when she had last looked at me! I have already mentioned that I was in love with her. I merely add this to satisfy you that I tell the truth. CHAPTER XI. THE PEBBLE AND THE WINDOW. MISS MEADOWCROFT and I were the only representatives of the family at the farm who attended the trial. We went separately to Narrabee. Excepting the ordinary greetings at morning and night, Miss Meadowcroft had not said one word to me since the time when I had told her that I did not believe John Jago to be a living man. I have purposely abstained from encumbering my narrative with legal details. I now propose to state the nature of the defense in the briefest outline only. We insisted on making both the prisoners plead not guilty. This done, we took an objection to the legality of the proceedings at starting. We appealed to the old English law, that there should be no conviction for murder until the body of the murdered person was found, or proof of its destruction obtained beyond a doubt. We denied that sufficient proof had been obtained in the case now before the court. The judges consulted, and decided that the trial should go on. We took our next objection when the confessions were produced in evidence. We declared that they had been extorted by terror, or by undue influence; and we pointed out certain minor particulars in which the two confessions failed to corroborate each other. For the rest, our defense on this occasion was, as to essentials, what our defense had been at the inquiry before the magistrate. Once more the judges consulted, and once more they overruled our objection. The confessions were admitted in evidence. On their side, the prosecution produced one new witness in support of their case. It is needless to waste time in recapitulating his evidence. He contradicted himself gravely on cross-examination. We showed plainly, and after investigation proved, that he was not to be believed on his oath. The chief-justice summed up. He charged, in relation to the confessions, that no weight should be attached to a confession incited by hope or fear; and he left it to the jury to determine whether the confessions in this case had been so influenced. In the course of the trial, it had been shown for the defense that the sheriff and the governor of the prison had told Ambrose, with his father’s knowledge and sanction, that the case was clearly against him; that the only chance of sparing his family the disgrace of his death by public execution lay in making a confession; and that they would do their best, if he did confess, to have his sentence commuted to imprisonment for life. As for Silas, he was proved to have been beside himself with terror when he made his abominable charge against his brother. We had vainly trusted to the evidence on these two points to induce the court to reject the confessions: and we were destined to be once more disappointed in anticipating that the same evidence would influence the verdict of the jury on the side of mercy. After an absence of an hour, they returned into court with a verdict of “Guilty” against both the prisoners. Being asked in due form if they had anything to say in mitigation of their sentence, Ambrose and Silas solemnly declared their innocence, and publicly acknowledged that their respective confessions had been wrung from them by the hope of escaping the hangman’s hands. This statement was not noticed by the bench. The prisoners were both sentenced to death. On my return to the farm, I did not see Naomi. Miss Meadowcroft informed her of the result of the trial. Half an hour later, one of the women-servants handed to me an envelope bearing my name on it in Naomi’s handwriting. The envelope inclosed a letter, and with it a slip of paper on which Naomi had hurriedly written these words: “For God’s sake, read the letter I send to you, and do something about it immediately!” I looked at the letter. It assumed to be written by a gentleman in New York. Only the day before, he had, by the merest accident, seen the advertisement for John Jago cut out of a newspaper and pasted into a book of “curiosities” kept by a friend. Upon this he wrote to Morwick Farm to say that he had seen a man exactly answering to the description of John Jago, but bearing another name, working as a clerk in a merchant’s office in Jersey City. Having time to spare before the mail went out, he had returned to the office to take another look at the man before he posted his letter. To his surprise, he was informed that the clerk had not appeared at his desk that day. His employer had sent to his lodgings, and had been informed that he had suddenly packed up his hand-bag after reading the newspaper at breakfast; had paid his rent honestly, and had gone away, nobody knew where! It was late in the evening when I read these lines. I had time for reflection before it would be necessary for me to act. Assuming the letter to be genuine, and adopting Naomi’s explanation of the motive which had led John Jago to absent himself secretly from the farm, I reached the conclusion that the search for him might be usefully limited to Narrabee and to the surrounding neighborhood. The newspaper at his breakfast had no doubt given him his first information of the “finding” of the grand jury, and of the trial to follow. It was in my experience of human nature that he should venture back to Narrabee under these circumstances, and under the influence of his infatuation for Naomi. More than this, it was again in my experience, I am sorry to say, that he should attempt to make the critical position of Ambrose a means of extorting Naomi’s consent to listen favorably to his suit. Cruel indifference to the injury and the suffering which his sudden absence might inflict on others was plainly implied in his secret withdrawal from the farm. The same cruel indifference, pushed to a further extreme, might well lead him to press his proposals privately on Naomi, and to fix her acceptance of them as the price to be paid for saving her cousin’s life. To these conclusions I arrived after much thinking. I had determined, on Naomi’s account, to clear the matter up; but it is only candid to add that my doubts of John Jago’s existence remained unshaken by the letter. I believed it to be nothing more nor less than a heartless and stupid “hoax.” The striking of the hall-clock roused me from my meditations. I counted the strokes—midnight! I rose to go up to my room. Everybody else in the farm had retired to bed, as usual, more than an hour since. The stillness in the house was breathless. I walked softly, by instinct, as I crossed the room to look out at the night. A lovely moonlight met my view; it was like the moonlight on the fatal evening when Naomi had met John Jago on the garden walk. My bedroom candle was on the side-table; I had just lighted it. I was just leaving the room, when the door suddenly opened, and Naomi herself stood before me! Recovering the first shook of her sudden appearance, I saw instantly in her eager eyes, in her deadly-pale cheeks, that something serious had happened. A large cloak was thrown over her; a white handkerchief was tied over her head. Her hair was in disorder; she had evidently just risen in fear and in haste from her bed. “What is it?” I asked, advancing to meet her. She clung, trembling with agitation, to my arm. “John Jago!” she whispered. You will think my obstinacy invincible. I could hardly believe it, even then! “Where?” I asked. “In the back-yard,” she replied, “under my bedroom window!” The emergency was far too serious to allow of any consideration for the small proprieties of every-day life. “Let me see him!” I said. “I am here to fetch you,” she answered, in her frank and fearless way. “Come upstairs with me.” Her room was on the first floor of the house, and was the only bedroom which looked out on the back-yard. On our way up the stairs she told me what had happened. “I was in bed,” she said, “but not asleep, when I heard a pebble strike against the window-pane. I waited, wondering what it meant. Another pebble was thrown against the glass. So far, I was surprised, but not frightened. I got up, and ran to the window to look out. There was John Jago looking up at me in the moonlight!” “Did he see you?” “Yes. He said, ‘Come down and speak to me! I have something serious to say to you!’” “Did you answer him?” “As soon as I could catch my breath, I said, ‘Wait a little,’ and ran downstairs to you. What shall I do?” “Let me see him, and I will tell you.” We entered her room. Keeping cautiously behind the window-curtain, I looked out. There he was! His beard and mustache were shaved off; his hair was close cut. But there was no disguising his wild, brown eyes, or the peculiar movement of his spare, wiry figure, as he walked slowly to and fro in the moonlight waiting for Naomi. For the moment, my own agitation almost overpowered me; I had so firmly disbelieved that John Jago was a living man! “What shall I do?” Naomi repeated. “Is the door of the dairy open?” I asked. “No; but the door of the tool-house, round the corner, is not locked.” “Very good. Show yourself at the window, and say to him, ‘I am coming directly.’” The brave girl obeyed me without a moment’s hesitation. There had been no doubt about his eyes and his gait; there was no doubt now about his voice, as he answered softly from below—“All right!” “Keep him talking to you where he is now,” I said to Naomi, “until I have time to get round by the other way to the tool-house. Then pretend to be fearful of discovery at the dairy, and bring him round the corner, so that I can hear him behind the door.” We left the house together, and separated silently. Naomi followed my instructions with a woman’s quick intelligence where stratagems are concerned. I had hardly been a minute in the tool-house before I heard him speaking to Naomi on the other side of the door. The first words which I caught distinctly related to his motive for secretly leaving the farm. Mortified pride—doubly mortified by Naomi’s contemptuous refusal and by the personal indignity offered to him by Ambrose—was at the bottom of his conduct in absenting himself from Morwick. He owned that he had seen the advertisement, and that it had actually encouraged him to keep in hiding! “After being laughed at and insulted and denied, I was glad,” said the miserable wretch, “to see that some of you had serious reason to wish me back again. It rests with you, Miss Naomi, to keep me here, and to persuade me to save Ambrose by showing myself and owning to my name.” “What do you mean?” I heard Naomi ask, sternly. He lowered his voice; but I could still hear him. “Promise you will marry me,” he said, “and I will go before the magistrate to-morrow, and show him that I am a living man.” “Suppose I refuse?” “In that case you will lose me again, and none of you will find me till Ambrose is hanged.” “Are you villain enough, John Jago, to mean what you say?” asked the girl, raising her voice. “If you attempt to give the alarm,” he answered, “as true as God’s above us, you will feel my hand on your throat! It’s my turn now, miss; and I am not to be trifled with. Will you have me for your husband—yes or no?” “No!” she answered, loudly and firmly. I burst open the door, and seized him as he lifted his hand on her. He had not suffered from the nervous derangement which had weakened me, and he was the stronger man of the two. Naomi saved my life. She struck up his pistol as he pulled it out of his pocket with his free hand and presented it at my head. The bullet was fired into the air. I tripped up his heels at the same moment. The report of the pistol had alarmed the house. We two together kept him on the ground until help arrived. CHAPTER XII. THE END OF IT. JOHN JAGO was brought before the magistrate, and John Jago was identified the next day. The lives of Ambrose and Silas were, of course, no longer in peril, so far as human justice was concerned. But there were legal delays to be encountered, and legal formalities to be observed, before the brothers could be released from prison in the characters of innocent men. During the interval which thus elapsed, certain events happened which may be briefly mentioned here before I close my narrative. Mr. Meadowcroft the elder, broken by the suffering which he had gone through, died suddenly of a rheumatic affection of the heart. A codicil attached to his will abundantly justified what Naomi had told me of Miss Meadowcroft’s influence over her father, and of the end she had in view in exercising it. A life income only was left to Mr. Meadowcroft’s sons. The freehold of the farm was bequeathed to his daughter, with the testator’s recommendation added, that she should marry his “best and dearest friend, Mr. John Jago.” Armed with the power of the will, the heiress of Morwick sent an insolent message to Naomi, requesting her no longer to consider herself one of the inmates at the farm. Miss Meadowcroft, it should be here added, positively refused to believe that John Jago had ever asked Naomi to be his wife, or had ever threatened her, as I had heard him threaten her, if she refused. She accused me, as she accused Naomi, of trying meanly to injure John Jago in her estimation, out of hatred toward “that much-injured man;” and she sent to me, as she had sent to Naomi, a formal notice to leave the house. We two banished ones met the same day in the hall, with our traveling-bags in our hands. “We are turned out together, friend Lefrank,” said Naomi, with her quaintly-comical smile. “You will go back to England, I guess; and I must make my own living in my own country. Women can get employment in the States if they have a friend to speak for them. Where shall I find somebody who can give me a place?” I saw my way to saying the right word at the right moment. “I have got a place to offer you,” I replied. She suspected nothing, so far. “That’s lucky, sir,” was all she said. “Is it in a telegraph-office or in a dry-goods store?” I astonished my little American friend by taking her then and there in my arms, and giving her my first kiss. “The office is by my fireside,” I said; “the salary is anything in reason you like to ask me for; and the place, Naomi, if you have no objection to it, is the place of my wife.” I have no more to say, except that years have passed since I spoke those words and that I am as fond of Naomi as ever. Some months after our marriage, Mrs. Lefrank wrote to a friend at Narrabee for news of what was going on at the farm. The answer informed us that Ambrose and Silas had emigrated to New Zealand, and that Miss Meadowcroft was alone at Morwick Farm. John Jago had refused to marry her. John Jago had disappeared again, nobody knew where. NOTE IN CONCLUSION.—The first idea of this little story was suggested to the author by a printed account of a trial which actually took place, early in the present century, in the United States. The published narrative of this strange case is entitled “The Trial, Confessions, and Conviction of Jesse and Stephen Boorn for the Murder of Russell Colvin, and the Return of the Man supposed to have been murdered. By Hon. Leonard Sargeant, Ex-Lieutenant Governor of Vermont. (Manchester, Vermont, Journal Book and Job Office, 1873.)” It may not be amiss to add, for the benefit of incredulous readers, that all the “improbable events” in the story are matters of fact, taken from the printed narrative. Anything which “looks like truth” is, in nine cases out of ten, the invention of the author.—W. C. *** END OF THE PROJECT GUTENBERG EBOOK THE DEAD ALIVE *** 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.

Related documents

• The Trail of Death#61870
• Death of a hero#65855
• The immortal flame#66603
• Dead Man's Love#50444
• Death as Gateway to Eternity: Nature’s Hidden Message#86576