Conceptio › Archive › Project Gutenberg
Project Gutenberg public full text Public Domain

The Last Hope

Merriman, Henry Seton, 1862-1903 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
adventure-storiesroyalists
Conceptio Open Archive

Analyze & explore related research in Conceptio

Connect this record directly into your research workflow or AI agent. Explore citations across open repositories, query full text, and export structured proof bundles.

CHAPTER XXXVIII. A COUP-D'ETAT CHAPTER XXXVIII. A COUP-D'ETAT As the Marquis de Gemosac's step was already on the stairs, Barebone was spared the necessity of agreeing in words to the inevitable. A moment later the old man hurried into the room. He had not even waited to remove his coat and gloves. A few snow-flakes powdered his shoulders. “Ah!” he cried, on perceiving Barebone. “Good—you are safe!” He turned to speak to some one who was following him up the stairs with the slower steps of one who knew not his way. “All is well!” he cried. “He is here. Give yourself no anxiety.” And the second comer crossed the threshold, coming suddenly out of the shadow of the staircase. It was Dormer Colville, white with snow, his face grey and worn. He shook hands with Barebone and bowed to Juliette, but the Marquis gave him no time to speak. “I go down into the town,” he explained, breathlessly. “The streets are full. There is a crowd on the market-place, more especially round the tobacconist's, where the newspapers are to be bought. No newspapers, if you please. The Paris journals of last Sunday, and this is Friday evening. Nothing since that. No Bordeaux journal. No news at all from Paris: absolute silence from Toulouse and Limoges. 'It is another revolution,' they tell each other. Something has happened and no one knows what. A man comes up to me and tugs at my sleeve. 'Inside your walls, Monsieur le Marquis, waste no time,' he whispers, and is gone. He is some stable-boy. I have seen him somewhere. I! inside my walls! Here in Gemosac, where I see nothing but bare heads as I walk through the streets. Name of God! I should laugh at such a precaution. And while I am still trying to gather information the man comes back to me. 'It is not the people you have to fear,' he whispers in my ear, 'it is the Government. The order for your arrest is at the Gendarmerie, for it was I who took it there. Monsieur Albert was arrested yesterday, and is now in La Rochelle. Madame de Chantonnay's house is guarded. It is from Madame I come.' And again he goes. While I am hesitating, I hear the step of a horse, tired and yet urged to its utmost. It is Dormer Colville, this faithful friend, who is from Paris in thirty-six hours to warn us. He shall tell his story himself.” “There is not much to tell,” said Colville, in a hollow voice. He looked round for a chair and sat down rather abruptly. “Louis Bonaparte is absolute master of France; that is all. He must be so by this time. When I escaped from Paris yesterday morning nearly all the streets were barricaded. But the troops were pouring into the city as I rode out—and artillery. I saw one barricade carried by artillery. Thousands must have been killed in the streets of Paris yesterday—” “—And, bon Dieu! it is called a coup-d'etat,” interrupted the Marquis. “That was on Tuesday,” explained Colville, in his tired voice—“at six o'clock on Tuesday morning. Yesterday and Wednesday were days of massacre.” “But, my friend,” exclaimed the Marquis, impatiently, “tell us how it happened. You laugh! It is no time to laugh.” “I do not know,” replied Colville, with an odd smile. “I think there is nothing else to be done—it is all so complete. We are all so utterly fooled by this man whom all the world took to be a dolt. On Tuesday morning he arrested seventy-eight of the Representatives. When Paris awoke, the streets had been placarded in the night with the decree of the President of the Republic. The National Assembly was dissolved. The Council of State was dissolved. Martial law was declared. And why? He does not even trouble to give a reason. He has the army at his back. The soldiers cried 'Vive l'Empereur' as they charged the crowd on Wednesday. He has got rid of his opponents by putting them in prison. Many, it is said, are already on their way to exile in Cayenne; the prisons are full. There is a warrant out against myself; against you, Barebone; against you, of course, Monsieur le Marquis. Albert de Chantonnay was arrested at Tours, and is now in La Rochelle. We may escape—we may get away to-night—” He paused and looked hurriedly toward the door, for some one was coming up the stairs—some one who wore sabots. It was the servant, Marie, who came unceremoniously into the room with the exaggerated calm of one who realises the gravity of the situation and means to master it. “The town is on fire,” she explained, curtly; “they have begun on the Gendarmerie. Doubtless they have heard that these gentlemen are to be arrested, and it is to give other employment to the gendarmes. But the cavalry has arrived from Saintes, and I come upstairs to ask Monsieur to come down and help. It is my husband who is a fool. Holy Virgin! how many times have I regretted having married such a blockhead as that. He says he cannot raise the drawbridge. To raise it three feet would be to gain three hours. So I came to get Monsieur,” she pointed at Barebone with a steady finger, “who has his wits on the top always and two hands at the end of his arms.” “But it is little use to raise the drawbridge,” objected the Marquis. “They will soon get a ladder and place it against the breach in the wall and climb in.” “Not if I am on the wall who amuse myself with a hayfork, Monsieur le Marquis,” replied Marie, with that exaggerated respect which implies a knowledge of mental superiority. She beckoned curtly to Loo and clattered down the stairs, followed by Barebone. The others did not attempt to go to their assistance, and the Marquis de Gemosac had a hundred questions to ask Colville. The Englishman had little to tell of his own escape. There were so many more important arrests to be made that the overworked police of Monsieur de Maupas had only been able to apportion to him a bungler whom Colville had easily outwitted. “And Madame St. Pierre Lawrence?” inquired the Marquis. “Madame quitted Paris on Tuesday for England under the care of John Turner, who had business in London. He kindly offered to escort her across the Channel.” “Then she, at all events, is safe,” said the Marquis, with a little wave of the hand indicating his satisfaction. “He is not brilliant, Monsieur Turner—so few English are—but he is solid, I think.” “I think he is the cleverest man I know,” said Dormer Colville, thoughtfully. And before they had spoken again Loo Barebone returned. He, like Marie, had grasped at once the serious aspect of the situation, whereas the Marquis succeeded only in reaching it with a superficial touch. He prattled of the political crisis in Paris and bade his friends rest assured that law and order must ultimately prevail. He even seemed to cherish the comforting assurance that Providence must in the end interfere on behalf of a Legitimate Succession. For this old noble was the true son of a father who had believed to the end in that King who talked grandiloquently of the works of Seneca and Tacitus while driving from the Temple to his trial, with the mob hooting and yelling imprecations into the carriage windows. The Marquis de Gemosac found time to give a polite opinion on John Turner while the streets of Gemosac were being cleared by the cavalry from Saintes, and the Gendarmerie, burning briskly, lighted up a scene of bloodshed. “We have raised the drawbridge a few feet,” said Barebone; “but the chains are rusted and may easily be broken by a blacksmith. It will serve to delay them a few minutes; but it is not the mob we seek to keep out, and any organised attempt to break in would succeed in half an hour. We must go, of course.” He turned to Colville, with whom he had met and faced difficulties in the past. Colville might easily have escaped to England with Mrs. St. Pierre Lawrence, but he had chosen the better part. He had undertaken a long journey through disturbed France only to throw in his lot at the end of it with two pre-condemned men. Loo turned to him as to one who had proved himself capable enough in an emergency, brave in face of danger. “We cannot stay here,” he said; “the gates will serve to give us an hour's start, but no more. I suppose there is another way out of the chateau.” “There are two ways,” answered the Marquis. “One leads to a house in the town and the other emerges at the mill down below the walls. But, alas! both are lost sight of. My ancestors—” “I know the shorter one,” put in Juliette, “the passage that leads to the mill. I can show you the entrance to that, which is in the crypt of the chapel, hidden behind the casks of wine.” She spoke to Barebone, only half-concealing, as Marie had done, the fact that the great respect with which the Marquis de Gemosac was treated was artificial, and would fall to pieces under the strain of an emergency—a faint echo of the old regime. “When you are gone,” the girl continued, still addressing Barebone, “Marie and I can keep them out at least an hour—probably more. We may be able to keep them outside the walls all night, and when at last they come in it will take them hours to satisfy themselves that you are not concealed within the enceinte.” She was quite cool, and even smiled at him with a white face. “You are always right, Mademoiselle, and have a clear head,” said Barebone. “But no heart?” she answered in an undertone, under cover of her father's endless talk to Colville and with a glance which Barebone could not understand. In a few minutes Dormer Colville pronounced himself ready to go, and refused to waste further precious minutes in response to Monsieur de Gemosac's offers of hospitality. No dinner had been prepared, for Marie had sterner business in hand and could be heard beneath the windows urging her husband to display a courage superior to that of a rabbit. Juliette hurried to the kitchen and there prepared a parcel of cold meat and bread for the fugitives to eat as they fled. “We might remain hidden in a remote cottage,” Barebone had suggested to Colville, “awaiting the development of events, but our best chance is 'The Last Hope.' She is at Bordeaux, and must be nearly ready for sea.” So it was hurriedly arranged that they should make their way on foot to a cottage on the marsh while Jean was despatched to Bordeaux with a letter for Captain Clubbe. “It is a pity,” said Marie, when informed of this plan, “that it is not I who wear the breeches. But I will make it clear to Jean that if he fails to carry out his task he need not show his face at the gate again.” The Marquis ran hither and thither, making a hundred suggestions, which were accepted in the soothing manner adopted toward children. He assured Juliette that their absence would be of short duration; that there was indeed no danger, but that he was acceding to the urgent persuasions of Barebone and Colville, who were perhaps unnecessarily alarmed—who did not understand how affairs were conducted in France. He felt assured that law and order must prevail. “But if they have put Albert de Chantonnay in prison, why should you be safe?” asked Juliette. To which the Marquis replied with a meaning cackle that she had a kind heart, and that it was only natural that it should be occupied at that moment with thoughts of that excellent young man who, in his turn, was doubtless thinking of her in his cell at La Rochelle. Which playful allusion to Albert de Chantonnay's pretensions was received by their object with a calm indifference. “When Jean returns,” she said, practically, “I will send him to you at the Bremonts' cottage with food and clothing. But you must not attempt to communicate with us. You would only betray your whereabouts and do no good to us. We shall be quite safe in the chateau. Marie and I and Madame Maugiron are not afraid.” At which the Marquis laughed heartily. It was so amusing to think that one should be young and pretty and not afraid. In the mean time Barebone was sealing his letter to Captain Clubbe. He had written it in the Suffolk dialect, spelling all the words as they are pronounced on that coast and employing when he could the Danish and Dutch expressions in daily use on the foreshore, which no French official seeking to translate could find in any dictionary. Lao gave his instructions to Jean himself, who received them in a silence not devoid of intelligence. The man had been round the walls and reported that nothing stirred beneath them; that there was more than one fire in the town, and that the streets appeared to be given over to disorder and riot. “It is assuredly a change in the Government,” he explained, simply. “And there will be many for Monsieur l'Abbe to bury on Sunday.” Jean was to accompany them to the cottage of an old man who had once lived by ferrying the rare passenger across the Gironde. Having left them here, he could reach Blaye before daylight, from whence a passage up the river to Bordeaux would be easily procurable. The boatman's cottage stood on the bank of a creek running into the Gironde. It was a lone building hidden among the low dunes that lie between the river and the marsh. Any one approaching it by daylight would be discernible half an hour in advance, and the man's boat, though old, was seaworthy. None would care to cross the lowlands at night except under the guidance of one or two, who, like Jean, knew their way even in the dark. Colville and Barebone had to help Jean to move the great casks stored in the crypt of the old chapel by which the entrance to the passage was masked. “It is, I recollect having been told, more than a passage—it is a ramp,” explained the Marquis, who stood by. “It was intended for the passage of horses, so that a man might mount here and ride out into the mill-stream, actually beneath the mill-wheel which conceals the exit.” Juliette, a cloak thrown over her evening dress, had accompanied them and stood near, holding a lantern above her head to give them light. It was an odd scene—a strange occupation for the last of the de Gemosacs. Through the gaps in the toppling walls they could hear the roar of voices and the occasional report of a firearm in the streets of the town below. The door opened easily enough, and Jean, lighting a candle, led the way. Barebone was the last to follow. Within the doorway he turned to say good-bye. The light of the lantern flickered uncertainly on Juliette's fair hair. “We may be back sooner than you expect, mademoiselle,” said Barebone. “Or you may go—to England,” she answered. CHAPTER XXXIX. “JOHN DARBY” Although it was snowing hard, it was not a dark night. There was a half moon hidden behind those thin, fleecy clouds, which carry the snow across the North Sea and cast it noiselessly upon the low-lying coast, from Thanet to the Wash, which knows less rain and more snow than any in England. A gale of wind was blowing from the north-east; not in itself a wild gale, but at short intervals a fresh burst of wind brought with it a thicker fall of snow, and during these squalls the force of the storm was terrific. A man, who had waited on the far shore of the river for a quiet interval, had at last made his way to the Farlingford side. He moored his boat and stumbled heavily up the steps. There was no one on the quay. The street was deserted, but the lights within the cottages glowed warmly through red blinds here and there. The majority of windows were, however, secured with a shutter, screwed tight from within. The man trotted steadily up the street. He had an unmistakable air of discipline. It was only six o'clock, but night had closed in three hours ago. The coast-guard looked neither to one side nor the other, but ran on at the pace of one who had run far and knows that he cannot afford to lose his breath; for his night's work was only begun. The coast-guard station stands on the left-hand side of the street, a long, low house in a bare garden. In answer to the loud summons, a red-faced little man opened the door and let out into the night a smell of bloaters and tea—the smell that pervades all Farlingford at six o'clock in the evening. “Something on the Inner Curlo Bank,” shouted the coast-guard in his face, and turning on his heel, he ran with the same slow, organised haste, leaving the red-faced man finishing a mouthful on the mat. The next place of call was at River Andrew's, the little low cottage with rounded corners, below the church. “Come out o' that,” said the coast-guard, with a contemptuous glance of snow-rimmed eyes at River Andrew's comfortable tea-table. “Ring yer bell. Something on the Inner Curlo Bank.” River Andrew had never hurried in his life, and like all his fellows, he looked upon coast-guards as amateurs mindful, as all amateurs are, of their clothes. “A'm now going,” he answered, rising laboriously from his chair. The coast-guard glanced at his feet clad in the bright green carpet-slippers, dear to seafaring men. Then he turned to the side of the mantelpiece and took the church keys from the nail. For everybody knows where everybody else keeps his keys in Farlingford. He forgot to shut the door behind him, and River Andrew, pessimistically getting into his sea-boots, swore at his retreating back. “Likely as not, he'll getten howld o' the wrong roup,” he muttered; though he knew that every boy in the village could point out the rope of “John Darby,” as that which had a piece of faded scarlet flannel twisted through the strands. In a few minutes the man, who hastened slowly, gave the call, which every man in Farlingford answered with an emotionless, mechanical promptitude. From each fireside some tired worker reached out his hand toward his most precious possession, his sea-boots, as his forefathers had done before him for two hundred years at the sound of “John Darby.” The women crammed into the pockets of the men's stiff oilskins a piece of bread, a half-filled bottle—knowing that, as often as not, their husbands must pass the night and half the next day on the beach, or out at sea, should the weather permit a launch through the surf. There was no need of excitement, or even of comment. Did not “John Darby” call them from their firesides or their beds a dozen times every winter, to scramble out across the shingle? As often as not, there was nothing to be done but drag the dead bodies from the surf; but sometimes the dead revived—some fair-haired, mystic foreigner from the northern seas, who came to and said, “T'ank you,” and nothing else. And next day, rigged out in dry clothes and despatched toward Ipswich on the carrier's cart, he would shake hands awkwardly with any standing near and bob his head and say “T'ank you” again, and go away, monosyllabic, mystic, never to be heard of more. But the ocean, as it is called at Farlingford, seemed to have an inexhaustible supply of such Titans to throw up on the rattling shingle winter after winter. And, after all, they were seafaring men, and therefore brothers. Farlingford turned out to a man, each seeking to be first across the river every time “John Darby” called them, as if he had never called them before. To-night none paused to finish the meal, and many a cup raised half-way was set down again untasted. It is so easy to be too late. Already the flicker of lanterns on the sea-wall showed that the rectory was astir. For Septimus Marvin, vaguely recalling some schoolboy instinct of fair-play, knew the place of the gentleman and the man of education among humbler men in moments of danger and hardship, which should, assuredly, never be at the back. “Yonder's parson,” some one muttered. “His head is clear enow, I'll warrant, when he hears 'John Darby.'” “'Tis only on Sundays, when 'John' rings slow, 'tis misty,” answered a sharp-voiced woman, with a laugh. For half of Farlingford was already at the quay, and three or four boats were bumping and splashing against the steps. The tide was racing out, and the wind, whizzing slantwise across it, pushed it against the wooden piles of the quay, making them throb and tremble. “Not less'n four to the oars!” shouted a gruff voice, at the foot of the steps, where the salt water, splashing on the snow, had laid bare the green and slimy moss. Two or three volunteers stumbled down the steps, and the first boat got away, swinging down-stream at once, only to be brought slowly back, head to wind. She hung motionless a few yards from the quay, each dip of the oars stirring the water into a whirl of phosphorescence, and then forged slowly ahead. Septimus Marvin was not alone, but was accompanied by a bulky man, not unknown in Farlingford—John Turner, of Ipswich, understood to live “foreign,” but to return, after the manner of East Anglians, when occasion offered. The rector was in oilskins and sou'wester, like any one else, and the gleam of his spectacles under the snowy brim of his headgear seemed to strike no one as incongruous. His pockets bulged with bottles and bandages. Under his arm he carried a couple of blanket horse-cloths, useful for carrying the injured or the dead. “The Curlo—the Inner Curlo—yes, yes!” he shouted in response to information volunteered on all sides. “Poor fellows! The Inner Curlo, dear, dear!” And he groped his way down the steps, into the first boat he saw, with a simple haste. John Turner followed him. He had tied a silk handkerchief over his soft felt hat and under his chin. “No, no!” he said, as Septimus Marvin made room for him on the after-thwart. “I'm too heavy for a passenger. Put my weight on an oar,” and he clambered forward to a vacant thwart. “Mind you come back for us, River Andrew!” cried little Sep's thin voice, as the boat swirled down stream. His wavering bull's-eye lantern followed it, and showed River Andrew and another pulling stroke to John Turner's bow, for the banker had been a famous oar on the Orwell in his boyhood. Then, with a smack like a box on the ear, another snow-squall swept in from the sea, and forced all on the quay to turn their backs and crouch. Many went back to their homes, knowing that nothing could be known for some hours. Others crouched on the landward side of an old coal-shed, peeping round the corner. Miriam and Sep, and a few others, waited on the quay until River Andrew or another should return. It was an understood thing that the helpers, such as could man a boat or carry a drowned man, should go first. In a few minutes the squall was past, and by the light of the moon, now thinly covered by clouds, the black forms of the first to reach the other shore could be seen straggling across the marsh toward the great shingle-bank that lies between the river and the sea. Two boats were moored at the far side, another was just making the jetty, while a fourth was returning toward the quay. It was River Andrew, faithful to his own element, who preferred to be first here, rather than obey orders on the open beach. There were several ready to lend a helping hand against tide and wind, and Miriam and Sep were soon struggling across the shingle, in the footsteps of those who had gone before. The north-east wind seared their faces like a hot iron, but the snow had ceased falling. As they reached the summit of the shingle-bank, they could see in front of them the black line of the sea, and on the beach, where the white of the snow and the white of the roaring surf merged together, a group of men. One or two stragglers had left this group to search the beach, north or south; but it was known, from a long and grim experience, that anything floating in from the tail of the Inner Curlo Bank must reach the shore at one particular point. A few lanterns twinkled here and there, but near the group of watchers a bonfire of wreckage and tarry fragments and old rope, brought hither for the purpose, had been kindled. Two boats, hauled out of reach of a spring tide, were being leisurely prepared for launching. There was no hurry; for it had been decided by the older men that no boat could be put to sea through the surf then rolling in. At the turn of the tide, in two hours' time, something might be done. “Us cannot see anything,” a bystander said to Miriam. “It is just there, where I am pointing. Sea Andrew saw something a while back—says it looked like a schooner.” The man stood pointing out to sea to the southward. He carried an unlighted torch—a flare, roughly made, of tarred rope, bound round a stick. At times, one or another would ignite his flare, and go down the beach holding it above his head, while he stood knee deep in the churning foam to peer out to sea. He would presently return, without comment, to beat out his flare against his foot and take his place among the silent watchers. No one spoke; but if any turned his head sharply to one side or other, all the rest wheeled, like one man, in the same direction and after staring at the tumbled sea would turn reproachful glances on the false alarmist. Suddenly, after a long wait, four men rushed without a word into the surf; their silent fury suggesting oddly the rush of hounds upon a fox. They had simultaneously caught sight of something dark, half sunk in the shallow water. In a moment they were struggling up the shingle slope toward the fire, carrying a heavy weight. They laid their burden by the fire, where the snow had melted away, and it was a man. He was in oilskins, and some one cut the tape that tied his sou'wester. His face was covered with blood. “'Tis warm,” said the man who had cut away the oilskin cap, and with his hand he wiped the blood away from the eyes and mouth. Some one in the background drew a cork, with his teeth, and a bottle was handed down to those kneeling on the ground. Suddenly the man sat up—and coughed. “Shipmets,” he said, with a splutter, and lay down again. Some one held the bottle to his lips and wiped the blood away from his face again. “My God!” shouted a bystander, gruffly. “'Tis William Brooke, of the Cottages.” “Yes. 'Tis me,” said the man, sitting up again. “Not that arm, mate; don't ye touch it. 'Tis bruk. Yes; 'tis me. And 'The Last Hope' is on the tail of the Inner Curlo—and the spar that knocked me overboard fell on the old man, and must have half killed him. But Loo Barebone's aboard.” He rose to his knees, with one arm hanging straight and piteous from his shoulder, then slowly to his feet. He stood wavering for a moment, and wiped his mouth with the back of his hand and spluttered. Then, looking straight in front of him, with that strange air of a whipped dog which humble men wear when the hand of Heaven is upon them, he staggered up the beach toward the river and Farlingford. “Where are ye goin'?” some one asked. “Over to mine,” was the reply. “A'm going to my old woman, shipmets.” And he staggered away in the darkness. CHAPTER XL. FARLINGFORD ONCE MORE After a hurried consultation, Septimus Marvin was deputed to follow the injured man and take him home, seeing that he had as yet but half recovered his senses. This good Samaritan had scarcely disappeared when a shout from the beach drew the attention of all in another direction. One of the outposts was running toward the fire, waving his lantern and shouting incoherently. It was a coastguard. “Comin' ashore in their own boat,” he cried. “They're coming in in their own boat!” “There she rides—there she rides!” added Sea Andrew, almost immediately, and he pointed to the south. Quite close in, just outside the line of breakers, a black shadow was rising and falling on the water. It seemed to make scarcely any way at all, and each sea that curled underneath the boat and roared toward the beach was a new danger. “They're going to run her in here,” said Sea Andrew. “There's more left on board; that's what that means, and they're goin' back for 'em. If 'twasn't so they'd run in anywheres and let her break.” For one sailor will always tell what another is about, however great the distance intervening. Slowly the boat came on, rolling tremendously on the curve of the breakers, between the broken water of the tideway and the spume of the surf. “That's Loo at the hellum,” said Sea Andrew—the keenest eyes in Farlingford. And suddenly Miriam swayed sideways against John Turner, who was perhaps watching her, for he gripped her arm and stood firm. No one spoke. The watchers on the beach stared open-mouthed, making unconscious grimaces as the boat rose and fell. All had been ready for some minutes; every preparation made according to the time-honoured use of these coasts: four men with life-lines round them standing knee-deep waiting to dash in deeper, others behind them grouped in two files, some holding the slack of the life-lines, forming a double rank from the shore to the fire, giving the steersman his course. There was no need to wave a torch or shout an order. They were Farlingford men on the shore and Farlingford men in the boat. At last, after breathless moments of suspense, the boat turned, and came spinning in on the top of a breaker, with the useless oars sticking out like the legs of some huge insect. For a few seconds it was impossible to distinguish anything. The moment the boat touched ground, the waves beating on it enveloped all near it in a whirl of spray, and the black forms seemed to be tumbling over each other in confusion. “You see,” said Turner to Miriam, “he has come back to you after all.” She did not answer but stood, her two hands clasped together on her breast, seeking to disentangle the confused group, half in half out of the water. Then they heard Loo Barebone's voice, cheerful and energetic, almost laughing. Before they could understand what was taking place his voice was audible again, giving a sharp, clear order, and all the black forms rushed together down into the surf. A moment later the boat danced out over the crest of a breaker, splashing into the next and throwing up a fan of spray. “She's through, she's through!” cried some one. And the boat rode for a brief minute head to wind before she turned southward. There were only three on the thwarts—Loo Barebone and two others. The group now broke up and straggled up toward the fire. One man was being supported, and could scarcely walk. It was Captain Clubbe, hatless, his grey hair plastered across his head by salt water. He did not heed any one, but sat down heavily on the shingle and felt his leg with one hand, the other arm hung limply. “Leave me here,” he said, gruffly, to two or three who were spreading out a horse-cloth and preparing to carry him. “Here I stay till all are ashore.” Behind him were several new-comers, one of them a little man talking excitedly to his companion. “But it is a folly,” he was saying in French, “to go back in such a sea as that.” It was the Marquis de Gemosac, and no one was taking any notice of him. Dormer Colville, stumbling over the shingle beside him, recognised Miriam in the firelight and turned again to look at her companion as if scarcely believing the evidence of his own eyes. “Is that you, Turner?” he said. “We are all here,—the Marquis, Barebone, and I. Clubbe took us on board one dark night in the Gironde and brought us home.” “Are you hurt?” asked Turner, curtly. “Oh, no. But Clubbe's collar-bone is broken and his leg is crushed. We had to leave four on board; not room for them in the boat. That fool Barebone has gone back for them. He promised them he would. The sea out there is awful!” He knelt down and held his shaking hands to the flames. Some one handed him a bottle, but he turned first and gave it the Marquis de Gemosac, who was shaking all over like one far gone in a palsy. Sea Andrew and the coast-guard captain were persuading Captain Clubbe to quit the beach, but he only answered them roughly in monosyllables. “My place is here till all are safe,” he said. “Let me lie.” And with a groan of pain he lay back on the beach. Miriam folded a blanket and placed it under his head. He looked round, recognised her and nodded. “No place for you, miss,” he said, and closed his eyes. After a moment he raised himself on his elbow and looked into the faces peering down at him. “Loo will beach her anywhere he can. Keep a bright lookout for him,” he said. Then he was silent, and all turned their faces toward the sea. Another snow-squall swept in with a rush from the eastward, and half of the fire was blown away—a trail of sparks hissing on the snow. They built up the fire again and waited, crouching low over the embers. They could see nothing out to sea. There was nothing to be done but to wait. Some had gone along the shore to the south, keeping pace with the supposed progress of the boat, ready to help should she be thrown ashore. Suddenly the Marquis de Gemosac, shivering over the fire, raised his voice querulously. His emotions always found vent in speech. “It is a folly,” he repeated, “that he has committed. I do not understand, gentlemen, how he was permitted to do such a thing—he whose life is of value to millions.” He turned his head to glance sharply at Captain Clubbe, at Colville, at Turner, who listened with that half-contemptuous silence which Englishmen oppose to unnecessary or inopportune speech. “Ah!” he said, “you do not understand—you Englishmen—or you do not believe, perhaps, that he is the King. You would demand proofs which you know cannot be produced. I demand no proofs, for I know. I know without any proof at all but his face, his manner, his whole being. I knew at once when I saw him step out of his boat here in this sad village, and I have lived with him almost daily ever since—only to be more sure than at first.” His hearers made no answer. They listened tolerantly enough, as one listens to a child or to any other incapable of keeping to the business in hand. “Oh, I know more than you suspect,” said the Marquis, suddenly. “There are some even in our own party who have doubts, who are not quite sure. I know that there was a doubt as to that portrait of the Queen,” he half glanced toward Dormer Colville. “Some say one thing, some another. I have been told that, when the child—Monsieur de Bourbon's father—landed here, there were two portraits among his few possessions—the miniature and a larger print, an engraving. Where is that engraving, one would ask?” “I have it in my safe in Paris,” said a thick voice in the darkness. “Thought it was better in my possession than anywhere else.” “Indeed! And now, Monsieur Turner—” the Marquis raised himself on his knees and pointed in his eager way a thin finger in the direction of the banker—“tell me this. Those portraits to which some would attach importance—they are of the Duchess de Guiche. Admitted? Good! If you yourself—who have the reputation of being a man of wit—desired to secure the escape of a child and his nurse, would you content yourself with the mere precaution of concealing the child's identity? Would you not go farther and provide the nurse with a subterfuge, a blind, something for the woman to produce and say, 'This is not the little Dauphin. This is so-and-so. See, here is the portrait of his mother?' What so effective, I ask you? What so likely to be believed as a scandal directed against the hated aristocrats? Can you advance anything against that theory?” “No, Monsieur,” replied Turner. “But Monsieur de Bourbon knows of these doubts,” went on the Marquis. “They have even touched his own mind, I know that. But he has continued to fight undaunted. He has made sacrifices—any looking at his face can see that. It was not in France that he looked for happiness, but elsewhere. He was not heart-whole—I who have seen him with the most beautiful women in France paying court to him know that. But this sacrifice, also, he made for the sake of France. Or perhaps some woman of whom we know nothing stepped back and bade him go forward alone, for the sake of his own greatness—who can tell?” Again no one answered him. He had not perceived Miriam, and John Turner, with that light step which sometimes goes with a vast bulk, had placed himself between her and the firelight. Monsieur de Gemosac rose to his feet and stood looking seaward. The snow-clouds were rolling away to the west, and the moon, breaking through, was beginning to illumine the wild sky. “Gentlemen,” said the Marquis, “they have been gone a long time?” Captain Clubbe moved restlessly, but he made no answer. The Marquis had, of course, spoken in French, and the Captain had no use for that language. The group round the fire had dwindled until only half a dozen remained. One after another the watchers had moved away uneasily toward the beach. The Marquis was right—the boat had been gone too long. At last the moon broke through, and the snowy scene was almost as light as day. John Turner was looking along the beach to the south, and one after another the watchers by the fire turned their anxious eyes in the same direction. The sea, whipped white, was bare of any wreck. “The Last Hope” of Farlingford was gone. She had broken up or rolled into deep water. A number of men were coming up the shingle in silence. Sea Andrew, dragging his feet wearily, approached in advance of them. “Boat's thrown up on the beach,” he said to Captain Clubbe. “Stove in by a sea. We've found them.” He stood back and the others, coming slowly into the light, deposited their burdens side by side near the fire. The Marquis, who had understood nothing, took a torch from the hand of a bystander and held it down toward the face of the man they had brought last. It was Loo Barebone, and the clean-cut, royal features seemed to wear a reflective smile. Miriam had come forward toward the fire, and by chance or by some vague instinct the bearers had laid their burden at her feet. After all, as John Turner had said, Loo Barebone had come back to her. She had denied him twice, and the third time he would take no denial. The taciturn sailors laid him there and stepped back—as if he was hers and this was the inevitable end of his short and stormy voyage. She looked down at him with tired eyes. She had done the right, and this was the end. There are some who may say that she had done what she thought was right, and this only seemed to be the end. It may be so. The Marquis de Gemosac was dumb for once. He looked round him with a half-defiant question in his eyes. Then he pointed a lean finger down toward the dead man's face. “Others may question,” he said, “but I know—I KNOW.” *** END OF THE PROJECT GUTENBERG EBOOK THE LAST HOPE *** 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

Record · ID 35127 · SHA-256 72b22cf0de076250
Retrieved via Conceptio: every document is proof-bundled with source, license, and retrieval metadata.
Bring this data into your agent: Connect via MCP or API · 20 free credits to start · no card required
Read the Docs → · View CLI source on GitHub · Conceptio Open Knowledge Archive