Poor Morris turned as pale as death, and then a flush of wrath against the injustice of man’s destiny dyed his very temples. ‘What do you mean?’ he cried, ‘I don’t believe a word of it.’ And when Michael had assured him of his seriousness, ‘Well, then,’ he cried, with another deep flush, ‘I won’t; so you can put that in your pipe and smoke it.’
‘Oho!’ said Michael queerly. ‘You say your uncle is dangerously ill, and you won’t compromise? There’s something very fishy about that.’
‘What do you mean?’ cried Morris hoarsely.
‘I only say it’s fishy,’ returned Michael, ‘that is, pertaining to the finny tribe.’
‘Do you mean to insinuate anything?’ cried Morris stormily, trying the high hand.
‘Insinuate?’ repeated Michael. ‘O, don’t let’s begin to use awkward expressions! Let us drown our differences in a bottle, like two affable kinsmen. The Two Affable Kinsmen, sometimes attributed to Shakespeare,’ he added.
Morris’s mind was labouring like a mill. ‘Does he suspect? or is this chance and stuff? Should I soap, or should I bully? Soap,’ he concluded. ‘It gains time.’ ‘Well,’ said he aloud, and with rather a painful affectation of heartiness, ‘it’s long since we have had an evening together, Michael; and though my habits (as you know) are very temperate, I may as well make an exception. Excuse me one moment till I fetch a bottle of whisky from the cellar.’
‘No whisky for me,’ said Michael; ‘a little of the old still champagne or nothing.’
For a moment Morris stood irresolute, for the wine was very valuable: the next he had quitted the room without a word. His quick mind had perceived his advantage; in thus dunning him for the cream of the cellar, Michael was playing into his hand. ‘One bottle?’ he thought. ‘By George, I’ll give him two! this is no moment for economy; and once the beast is drunk, it’s strange if I don’t wring his secret out of him.’
With two bottles, accordingly, he returned. Glasses were produced, and Morris filled them with hospitable grace.
‘I drink to you, cousin!’ he cried gaily. ‘Don’t spare the wine-cup in my house.’
Michael drank his glass deliberately, standing at the table; filled it again, and returned to his chair, carrying the bottle along with him.
‘The spoils of war!’ he said apologetically. ‘The weakest goes to the wall. Science, Morris, science.’ Morris could think of no reply, and for an appreciable interval silence reigned. But two glasses of the still champagne produced a rapid change in Michael.
‘There’s a want of vivacity about you, Morris,’ he observed. ‘You may be deep; but I’ll be hanged if you’re vivacious!’
‘What makes you think me deep?’ asked Morris with an air of pleased simplicity.
‘Because you won’t compromise,’ said the lawyer. ‘You’re deep dog, Morris, very deep dog, not t’ compromise — remarkable deep dog. And a very good glass of wine; it’s the only respectable feature in the Finsbury family, this wine; rarer thing than a title — much rarer. Now a man with glass wine like this in cellar, I wonder why won’t compromise?’
‘Well, YOU wouldn’t compromise before, you know,’ said the smiling Morris. ‘Turn about is fair play.’
‘I wonder why I wouldn’ compromise? I wonder why YOU wouldn’?’ enquired Michael. ‘I wonder why we each think the other wouldn’? ‘S quite a remarrable — remarkable problem,’ he added, triumphing over oral obstacles, not without obvious pride. ‘Wonder what we each think — don’t you?’
‘What do you suppose to have been my reason?’ asked Morris adroitly.
Michael looked at him and winked. ‘That’s cool,’ said he. ‘Next thing, you’ll ask me to help you out of the muddle. I know I’m emissary of Providence, but not that kind! You get out of it yourself, like Aesop and the other fellow. Must be dreadful muddle for young orphan o’ forty; leather business and all!’
‘I am sure I don’t know what you mean,’ said Morris.
‘Not sure I know myself,’ said Michael. ‘This is exc’lent vintage, sir — exc’lent vintage. Nothing against the tipple. Only thing: here’s a valuable uncle disappeared. Now, what I want to know: where’s valuable uncle?’
‘I have told you: he is at Browndean,’ answered Morris, furtively wiping his brow, for these repeated hints began to tell upon him cruelly.
‘Very easy say Brown — Browndee — no’ so easy after all!’ cried Michael. ‘Easy say; anything’s easy say, when you can say it. What I don’ like’s total disappearance of an uncle. Not businesslike.’ And he wagged his head.
‘It is all perfectly simple,’ returned Morris, with laborious calm. ‘There is no mystery. He stays at Browndean, where he got a shake in the accident.’
‘Ah!’ said Michael, ‘got devil of a shake!’
‘Why do you say that?’ cried Morris sharply.
‘Best possible authority. Told me so yourself,’ said the lawyer. ‘But if you tell me contrary now, of course I’m bound to believe either the one story or the other. Point is I’ve upset this bottle, still champagne’s exc’lent thing carpet — point is, is valuable uncle dead — an’ — bury?’
Morris sprang from his seat. ‘What’s that you say?’ he gasped.
‘I say it’s exc’lent thing carpet,’ replied Michael, rising. ‘Exc’lent thing promote healthy action of the skin. Well, it’s all one, anyway. Give my love to Uncle Champagne.’
‘You’re not going away?’ said Morris.
‘Awf’ly sorry, ole man. Got to sit up sick friend,’ said the wavering Michael.
‘You shall not go till you have explained your hints,’ returned Morris fiercely. ‘What do you mean? What brought you here?’
‘No offence, I trust,’ said the lawyer, turning round as he opened the door; ‘only doing my duty as shemishery of Providence.’
Groping his way to the front-door, he opened it with some difficulty, and descended the steps to the hansom. The tired driver looked up as he approached, and asked where he was to go next.
Michael observed that Morris had followed him to the steps; a brilliant inspiration came to him. ‘Anything t’ give pain,’ he reflected. . . . ‘Drive Shcotlan’ Yard,’ he added aloud, holding to the wheel to steady himself; ‘there’s something devilish fishy, cabby, about those cousins. Mush’ be cleared up! Drive Shcotlan’ Yard.’
‘You don’t mean that, sir,’ said the man, with the ready sympathy of the lower orders for an intoxicated gentleman. ‘I had better take you home, sir; you can go to Scotland Yard tomorrow.’
‘Is it as friend or as perfessional man you advise me not to go Shcotlan’ Yard t’night?’ enquired Michael. ‘All righ’, never min’ Shcotlan’ Yard, drive Gaiety bar.’
‘The Gaiety bar is closed,’ said the man.
‘Then home,’ said Michael, with the same cheerfulness.
‘Where to, sir?’
‘I don’t remember, I’m sure,’ said Michael, entering the vehicle, ‘drive Shcotlan’ Yard and ask.’
‘But you’ll have a card,’ said the man, through the little aperture in the top, ‘give me your card-case.’
‘What imagi — imagination in a cabby!’ cried the lawyer, producing his card-case, and handing it to the driver.
The man read it by the light of the lamp. ‘Mr Michael Finsbury, 233 King’s Road, Chelsea. Is that it, sir?’
‘Right you are,’ cried Michael, ‘drive there if you can see way.’
CHAPTER X. Gideon Forsyth and the Broadwood Grand
The reader has perhaps read that remarkable work, Who Put Back the Clock? by E. H. B., which appeared for several days upon the railway bookstalls and then vanished entirely from the face of the earth. Whether eating Time makes the chief of his diet out of old editions; whether Providence has passed a special enactment on behalf of authors; or whether these last have taken the law into their own hand, bound themselves into a dark conspiracy with a password, which I would die rather than reveal, and night after night sally forth under some v
igorous leader, such as Mr James Payn or Mr Walter Besant, on their task of secret spoliation — certain it is, at least, that the old editions pass, giving place to new. To the proof, it is believed there are now only three copies extant of Who Put Back the Clock? one in the British Museum, successfully concealed by a wrong entry in the catalogue; another in one of the cellars (the cellar where the music accumulates) of the Advocates’ Library at Edinburgh; and a third, bound in morocco, in the possession of Gideon Forsyth. To account for the very different fate attending this third exemplar, the readiest theory is to suppose that Gideon admired the tale. How to explain that admiration might appear (to those who have perused the work) more difficult; but the weakness of a parent is extreme, and Gideon (and not his uncle, whose initials he had humorously borrowed) was the author of Who Put Back the Clock? He had never acknowledged it, or only to some intimate friends while it was still in proof; after its appearance and alarming failure, the modesty of the novelist had become more pressing, and the secret was now likely to be better kept than that of the authorship of Waverley.
A copy of the work (for the date of my tale is already yesterday) still figured in dusty solitude in the bookstall at Waterloo; and Gideon, as he passed with his ticket for Hampton Court, smiled contemptuously at the creature of his thoughts. What an idle ambition was the author’s! How far beneath him was the practice of that childish art! With his hand closing on his first brief, he felt himself a man at last; and the muse who presides over the police romance, a lady presumably of French extraction, fled his neighbourhood, and returned to join the dance round the springs of Helicon, among her Grecian sisters.
Robust, practical reflection still cheered the young barrister upon his journey. Again and again he selected the little country-house in its islet of great oaks, which he was to make his future home. Like a prudent householder, he projected improvements as he passed; to one he added a stable, to another a tennis-court, a third he supplied with a becoming rustic boat-house.
‘How little a while ago,’ he could not but reflect, ‘I was a careless young dog with no thought but to be comfortable! I cared for nothing but boating and detective novels. I would have passed an old-fashioned country-house with large kitchen-garden, stabling, boat-house, and spacious offices, without so much as a look, and certainly would have made no enquiry as to the drains. How a man ripens with the years!’
The intelligent reader will perceive the ravages of Miss Hazeltine. Gideon had carried Julia straight to Mr Bloomfield’s house; and that gentleman, having been led to understand she was the victim of oppression, had noisily espoused her cause. He worked himself into a fine breathing heat; in which, to a man of his temperament, action became needful.
‘I do not know which is the worse,’ he cried, ‘the fraudulent old villain or the unmanly young cub. I will write to the Pall Mall and expose them. Nonsense, sir; they must be exposed! It’s a public duty. Did you not tell me the fellow was a Tory? O, the uncle is a Radical lecturer, is he? No doubt the uncle has been grossly wronged. But of course, as you say, that makes a change; it becomes scarce so much a public duty.’
And he sought and instantly found a fresh outlet for his alacrity. Miss Hazeltine (he now perceived) must be kept out of the way; his houseboat was lying ready — he had returned but a day or two before from his usual cruise; there was no place like a houseboat for concealment; and that very morning, in the teeth of the easterly gale, Mr and Mrs Bloomfield and Miss Julia Hazeltine had started forth on their untimely voyage. Gideon pled in vain to be allowed to join the party. ‘No, Gid,’ said his uncle. ‘You will be watched; you must keep away from us.’ Nor had the barrister ventured to contest this strange illusion; for he feared if he rubbed off any of the romance, that Mr Bloomfield might weary of the whole affair. And his discretion was rewarded; for the Squirradical, laying a heavy hand upon his nephew’s shoulder, had added these notable expressions: ‘I see what you are after, Gid. But if you’re going to get the girl, you have to work, sir.’
These pleasing sounds had cheered the barrister all day, as he sat reading in chambers; they continued to form the ground-base of his manly musings as he was whirled to Hampton Court; even when he landed at the station, and began to pull himself together for his delicate interview, the voice of Uncle Ned and the eyes of Julia were not forgotten.
But now it began to rain surprises: in all Hampton Court there was no Kurnaul Villa, no Count Tarnow, and no count. This was strange; but, viewed in the light of the incoherency of his instructions, not perhaps inexplicable; Mr Dickson had been lunching, and he might have made some fatal oversight in the address. What was the thoroughly prompt, manly, and businesslike step? thought Gideon; and he answered himself at once: ‘A telegram, very laconic.’ Speedily the wires were flashing the following very important missive: ‘Dickson, Langham Hotel. Villa and persons both unknown here, suppose erroneous address; follow self next train. — Forsyth.’ And at the Langham Hotel, sure enough, with a brow expressive of dispatch and intellectual effort, Gideon descended not long after from a smoking hansom.
I do not suppose that Gideon will ever forget the Langham Hotel. No Count Tarnow was one thing; no John Dickson and no Ezra Thomas, quite another. How, why, and what next, danced in his bewildered brain; from every centre of what we playfully call the human intellect incongruous messages were telegraphed; and before the hubbub of dismay had quite subsided, the barrister found himself driving furiously for his chambers. There was at least a cave of refuge; it was at least a place to think in; and he climbed the stair, put his key in the lock and opened the door, with some approach to hope.
It was all dark within, for the night had some time fallen; but Gideon knew his room, he knew where the matches stood on the end of the chimney-piece; and he advanced boldly, and in so doing dashed himself against a heavy body; where (slightly altering the expressions of the song) no heavy body should have been. There had been nothing there when Gideon went out; he had locked the door behind him, he had found it locked on his return, no one could have entered, the furniture could not have changed its own position. And yet undeniably there was a something there. He thrust out his hands in the darkness. Yes, there was something, something large, something smooth, something cold.
‘Heaven forgive me!’ said Gideon, ‘it feels like a piano.’
And the next moment he remembered the vestas in his waistcoat pocket and had struck a light.
It was indeed a piano that met his doubtful gaze; a vast and costly instrument, stained with the rains of the afternoon and defaced with recent scratches. The light of the vesta was reflected from the varnished sides, like a staice in quiet water; and in the farther end of the room the shadow of that strange visitor loomed bulkily and wavered on the wall.
Gideon let the match burn to his fingers, and the darkness closed once more on his bewilderment. Then with trembling hands he lit the lamp and drew near. Near or far, there was no doubt of the fact: the thing was a piano. There, where by all the laws of God and man it was impossible that it should be — there the thing impudently stood. Gideon threw open the keyboard and struck a chord. Not a sound disturbed the quiet of the room. ‘Is there anything wrong with me?’ he thought, with a pang; and drawing in a seat, obstinately persisted in his attempts to ravish silence, now with sparkling arpeggios, now with a sonata of Beethoven’s which (in happier days) he knew to be one of the loudest pieces of that powerful composer. Still not a sound. He gave the Broadwood two great bangs with his clenched first. All was still as the grave. The young barrister started to his feet.
‘I am stark-staring mad,’ he cried aloud, ‘and no one knows it but myself. God’s worst curse has fallen on me.’
His fingers encountered his watch-chain; instantly he had plucked forth his watch and held it to his ear. He could hear it ticking.
‘I am not deaf,’ he said aloud. ‘I am only insane. My mind has quitted me for ever.’
He looked uneasily about the room, and — gazed with lacklustre eyes at the c
hair in which Mr Dickson had installed himself. The end of a cigar lay near on the fender.
‘No,’ he thought, ‘I don’t believe that was a dream; but God knows my mind is failing rapidly. I seem to be hungry, for instance; it’s probably another hallucination. Still I might try. I shall have one more good meal; I shall go to the Cafe Royal, and may possibly be removed from there direct to the asylum.’
He wondered with morbid interest, as he descended the stairs, how he would first betray his terrible condition — would he attack a waiter? or eat glass? — and when he had mounted into a cab, he bade the man drive to Nichol’s, with a lurking fear that there was no such place.
The flaring, gassy entrance of the cafe speedily set his mind at rest; he was cheered besides to recognize his favourite waiter; his orders appeared to be coherent; the dinner, when it came, was quite a sensible meal, and he ate it with enjoyment. ‘Upon my word,’ he reflected, ‘I am about tempted to indulge a hope. Have I been hasty? Have I done what Robert Skill would have done?’ Robert Skill (I need scarcely mention) was the name of the principal character in Who Put Back the Clock? It had occurred to the author as a brilliant and probable invention; to readers of a critical turn, Robert appeared scarce upon a level with his surname; but it is the difficulty of the police romance, that the reader is always a man of such vastly greater ingenuity than the writer. In the eyes of his creator, however, Robert Skill was a word to conjure with; the thought braced and spurred him; what that brilliant creature would have done Gideon would do also. This frame of mind is not uncommon; the distressed general, the baited divine, the hesitating author, decide severally to do what Napoleon, what St Paul, what Shakespeare would have done; and there remains only the minor question, What is that? In Gideon’s case one thing was clear: Skill was a man of singular decision, he would have taken some step (whatever it was) at once; and the only step that Gideon could think of was to return to his chambers.
Complete Works of Robert Louis Stevenson (Illustrated) Page 129