LITMIR.BIZ

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it's too wet to work," said she. "I suppose I'd better go home again."

      "That seems a dull idea—for me," he said; "it's very selfish, of course, but I'm rather sad this morning. Won't you stay a little and cheer me up?"

      Betty asked nothing better. But even to her a tete-a-tete in a wood, with rain pattering and splashing on leaves and path and resonant mackintoshes, seemed to demand some excuse.

      "I should think breakfast and being dry would cheer you up better than anything," said she. "And it's very wet here."

      "Hang breakfast! But you're right about the wetness. There's a shed in the field yonder. A harrow and a plough live there; they're sure to be at home on a day like this. Let's go and ask for their hospitality."

      "I hope they'll be nice to us," laughed Betty; "it's dreadful to go where you're not wanted."

      "How do you know?" he asked, laughing too. "Come, give me your hand and let's run for it."

      They ran, hand in hand, the wet mackintoshes flapping and slapping about their knees, and drew up laughing and breathless in the dry quiet of the shed. Vernon thought of Love and Mr. Lewisham, but it was not the moment to say so.

      "See, they are quite pleased to see us," said he, "they don't say a word against our sheltering here. The plough looks a bit glum, but she'll grow to like us presently. As for harrow, look how he's smiling welcome at you with all his teeth."

      "I'm glad he can't come forward to welcome us," said Betty. "His teeth look very fierce."

      "He could, of course, only he's enchanted. He used to be able to move about, but now he's condemned to sit still and only smile till—till he sees two perfectly happy people. Are you perfectly happy?" he asked anxiously.

      "I don't know," said Betty truly. "Are you?"

      "No—not quite perfectly."

      "I'm so glad," said Betty. "I shouldn't like the harrow to begin to move while we're here. I'm sure it would bite us."

      He sighed and looked grave. "So you don't want me to be perfectly happy?"

      She looked at him with her head on one side.

      "Not here," she said. "I can't trust that harrow."

      His eyelids narrowed over his eyes—then relaxed. No, she was merely playing at enchanted harrows.

      "Are you cold still?" he asked, and reached for her hand. She gave it frankly.

      "Not a bit," she said, and took it away again. "The run warmed me. In fact—"

      She unbuttoned the mackintosh and spread it on the bar of the plough and sat down. Her white dress lighted up the shadows of the shed. Outside the rain fell steadily.

      "May I sit down too? Can Mrs. Plough find room for two children on her lap?"

      She drew aside the folds of her dress, but even then only a little space was left. The plough had been carelessly housed and nearly half of it was where the rain drove in on it. So that they were very close together.

      So close that he had to throw his head back to see clearly how the rain had made the short hair curl round her forehead and ears, and how fresh were the tints of face and lips. Also he had to support himself by an arm stretched out behind her. His arm was not round her, but it might just as well have been, as far as the look of the thing went. He thought of the arm of Mr. Lewisham.

      "Did you ever have your fortune told?" he asked.

      "No, never. I've always wanted to, but Father hates gipsies. When I was a little girl I used to put on my best clothes, and go out into the lanes and sit about and hope the gipsies would steal me, but they never did."

      "They're a degenerate race, blind to their own interests. But they haven't a monopoly of chances—fortunately." His eyes were on her face.

      "I never had my fortune told," said Betty. "I'd love it, but I think I should be afraid, all the same. Something might come true."

      Vernon was more surprised than he had ever been in his life at the sudden involuntary movement in his right arm. It cost him a conscious effort not to let the arm follow its inclination and fall across her slender shoulders, while he should say:

      "Your fortune is that I love you. Is it good or bad fortune?"

      He braced the muscles of his arm, and kept it where it was. That sudden unreasonable impulse was a mortification, an insult to the man whose pride it was to believe that his impulses were always planned.

      "I can tell fortunes," he said. "When I was a boy I spent a couple of months with some gipsies. They taught me lots of things."

      His memory, excellently trained, did not allow itself to dwell for an instant on his reason for following those gipsies, on the dark-eyed black-haired girl with the skin like pale amber, who had taught him, by the flicker of the camp-fire, the lines of head and heart and life, and other things beside. Oh, but many other things! That was before he became an artist. He was only an amateur in those days.

      "Did they teach you how to tell fortunes—really and truly?" asked Betty. "We had a fortune-teller's tent at the School Bazaar last year, and the youngest Smithson girl dressed up in spangles and a red dress and said she was Zara, the Eastern Mystic Hand-Reader, and Foreteller of the Future. But she got it all out of Napoleon's Book of Fate."

      "I don't get my fortune-telling out of anybody's book of anything," he said. "I get it out of people's hands, and their faces. Some people's faces are their fortunes, you know."

      "I know they are," she said a little sadly, "but everybody's got a hand and a fortune, whether they've got that sort of fortune-face or not."

      "But the fortunes of the fortune-faced people are the ones one likes best to tell."

      "Of course," she admitted wistfully, "but what's going to happen to you is just as interesting to you, even if your face isn't interesting to anybody. Do you always tell fortunes quite truly; I mean do you follow the real rules? or do you make up pretty fortunes for the people with the pretty fortune-faces."

      "There's no need to 'make up.' The pretty fortunes are always there for the pretty fortune-faces: unless of course the hand contradicts the face."

      "But can it?"

      "Can't it? There may be a face that all the beautiful things in the world are promised to: just by being so beautiful itself it draws beautiful happenings to it. But if the hand contradicts the face, if the hand is one of those narrow niggardly distrustful hands, one of the hands that will give nothing and take nothing, a hand without courage, without generosity—well then one might as well be born without a fortune-face, for any good it will ever do one."

      "Then you don't care to tell fortunes for people who haven't fortune faces?"

      "I should like to tell yours, if you would let me. Shall I?"

      He held out his hand, but her hand was withheld.

      "I ought to cross your hand with silver, oughtn't I?" she asked.

      "It's considered correct—but—"

      "Oh, don't let's neglect any proper precaution," she said. "I haven't got any money. Tell it me to-morrow, and I will bring a sixpence."

      "You could cross my hand with your watch," he said, "and I could take the crossing as an I.O.U. of the sixpence."

      She detached the old watch. He held out his hand and she gravely traced a cross on it.

      "Now," he said, "all preliminary formalities being complied with, let the prophet do his work. Give me your hand, pretty lady, and the old gipsy will tell you your fortune true."

      He held the hand in his, bending back the pink finger-tips with his thumb, and looked earnestly at its lines. Then he looked in her face, longer than he had ever permitted himself to look. He looked till her eyes fell. It was a charming picture. He was tall, strong, well-built and quite as good-looking as a clever man has any need to be. And she was as pretty as any oleograph of them all.

      It seemed a thousand pities that there should be no witness to such a well-posed tableau, no audience to such a charming scene. The pity

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