by Mary Braddon
“Only this, monsieur. I must make my escape from this apartment. That window looks into the garden, from the garden to the mews, through the mews into a retired street, and thence——”
“Never mind that, if you get there. I really doubt the possibility of your getting there. There is a policeman watching in that garden.”
Raymond smiles. He is recovering his presence of mind in the necessity for action. He opens a drawer in the library table and takes out an air-pistol, which looks rather like some elegant toy than a deadly weapon.
“I must shoot that man,” he says.
“Then I give the alarm. I will not be implicated in a murder. Good Heavens! the Marquis de Cevennes implicated in a murder! Why, it would be talked of in Paris for a month.”
“There will be no murder, monsieur. I shall fire at that man from this window and hit him in the knee. He will fall, and most likely faint from the pain, and will not, therefore, know whether I pass through the garden or not. You will give the alarm, and tell the men without that I have escaped through this window and the door in the wall yonder. They will pursue me in that direction, while I——”
“You will do what?”
“Go out at the front door as a gentleman should. I was not unprepared for such an event as this. Every room in this house has a secret communication with the next room. There is only one door in this library, as it seems, and they are carefully watching that.”
As he speaks he softly opens the window and fires at the man in the garden, who falls, only uttering a groan. As Raymond predicted, he faints with the pain.
With the rapidity of lightning he flings the window up violently, hurls the pistol to the farthest extremity of the garden, snatches the Marquis’s hat from the chair on which it lies, presses one finger on the gilded back of a volume of Gibbon’s Rome, a narrow slip of the bookcase opens inwards, and reveals a door leading into the next apartment, which is the dining-room. This door is made on a peculiar principle, and, as he pushes through, it closes behind him.
This is the work of a second; and as the officers, alarmed by the sound of the opening of the window, rush into the room, the Marquis gives the alarm. “He has escaped by the window!” he said. “He has wounded your assistant, and passed through that door. He cannot be twenty yards in advance; you will easily know him by his having no hat on.”
“Stop!” cries the detective officer, “this may be a trap. He may have got round to the front door. Go and watch, Johnson.”
A little too late this precaution. As the officers rushed into the library, Raymond passed from the dining-room door out of the open street-door, and jumped into the very cab which was waiting to take him to prison. “Five pounds, if you catch the Liverpool Express,” he said to the cabman.
“All right, sir,” replied that worthy citizen, with a wink. “I’ve druv a many gents like you, and very good fares they is too, and a godsend to a hard-working man, what old ladies with hand-bags and umbrellas grudges eightpence a mile to,” mutters the charioteer, as he gallops down Upper Brook Street and across Hanover Square, while the gentlemen of the police force, aided by Dr. Tappenden and the obliging Marquis, search the mews and neighbourhood adjoining. Strange to say, they cannot obtain any information from the coachman and stable-boys concerning a gentleman without a hat, who must have passed through the mews about three minutes before.
CHAPTER III
THE LEFT-HANDED SMASHER MAKES HIS MARK
“It is a palpable and humiliating proof of the decadence of the glories of white-cliffed Albion1 and her lion-hearted children,” said the sporting correspondent of the Liverpool Bold Speaker and Threepenny Aristides—a gentleman who, by the bye, was very clever at naming—for half-a-dozen stamps—the horses that didn’t win; and was, indeed, useful to fancy betters, as affording accurate information what to avoid; nothing being better policy than to give the odds against any horse named by him as a sure winner, or a safe second: for those gallant steeds were sure to be, whatever the fluctuating fortune of the race, ignominiously nowhere. “It is,” continued the Liverpool B. S., “a sign of the downfalling of the lion and unicorn—over which Britannia may shed tears and the inhabitants of Liverpool and its vicinity mourn in silent despair—that the freedom of England is no more! We repeat (the Liverpool Aristides here gets excited, and goes into small capitals)—BRITAIN is no longer FREE! Her freedom departed from her on that day on which the blue-coated British Sbirri of Sir Robert Peel2 broke simultaneously into the liberties of the nation, the mightiest clauses of Magna Charta, and the Prize Ring, and stopped the operations of the Lancashire Daddy Longlegs and the celebrated Metropolitan favourite, the Left-handed Smasher, during the eighty-ninth round, and just as the real interest of the fight was about to begin. Under these humiliating circumstances, a meeting has been held by the referees and backers of the men, and it has been agreed between the latter and the stakeholder to draw the money. But, that the valiant and admired Smasher may have no occasion to complain of the inhospitality of the town of Liverpool, the patrons of the fancy have determined on giving him a dinner, at which his late opponent, our old favourite and honoured townsman, Daddy Longlegs, will be in the chair, having a distinguished gentleman of sporting celebrity as his vice. It is to be hoped that, as some proof that the noble art of self-defence is not entirely extinct in Liverpool, the friends of the Ring will muster pretty strong on this occasion. Tickets, at half-a-guinea, to be obtained at the Gloves Tavern, where the entertainment will take place.”
On the very day on which the Count de Marolles left his establishment in Park Lane in so very abrupt a manner, the tributary banquet to the genius of the Ring, in the person of the Left-handed Smasher, came off in excellent style at the above-mentioned Gloves Tavern—a small hostelry, next door to one of the Liverpool minor theatres, and chiefly supported by the members of the Thespian and pugilistic arts. The dramatic element, perhaps, rather predominated in the small parlour behind the bar, where Brandolph of the Burning Brand—after fighting sixteen terrific broadsword combats, and being left for dead behind the first grooves seven times in the course of three acts—would take his Welsh rarebit and his pint of half-and-half in company with the Lancashire Grinder and the Pottery Pet, and listen with due solemnity to the discourse of these two popular characters. The little parlour was so thickly hung with portraits of theatrical and sporting celebrities, that Œdipus himself—distinguished as he is for having guessed the dullest of conundrums—could never have discovered the pattern of the paper which adorned the walls. Here, Mr. Montmorency, the celebrated comedian, smirked—with that mild smirk only known in portraits—over the ample shoulders of his very much better half, at the Pet in fighting attitude. There, Mr. Marmaduke Montressor, the great tragedian, frowned, in the character of Richard the Third, at Pyrrhus the First, winner of the last Derby. Here, again, Mademoiselle Pasdebasque pointed her satin slipper side by side with the youthful Challoner of that day; and opposite Mademoiselle Pasdebasque, a gentleman in scarlet, whose name is unknown, tumbled off a burnt-sienna horse, in excellent condition, and a very high state of varnish, into a Prussian-blue ditch, thereby filling the spectator with apprehension lest he should be, not drowned, but dyed. As to Brandolph of the Brand, there were so many pictures of him, in so many different attitudes, and he was always looking so very handsome and doing something so very magnanimous, that perhaps, upon the whole, it was rather a disappointment to look from the pictures down to the original of them in the dingy costume of private life, seated at the shiny little mahogany table, partaking of refreshment.
The theatrical profession mustered pretty strongly to do honour to the sister art on this particular occasion. The theatre next door to the Gloves happened, fortunately, to be closed, on account of the extensive scale of preparations for a grand dramatic and spectacular performance, entitled, “The Sikh Victories; or, The Tyrant of the Ganges,” which was to be brought out the ensuing Monday, with even more than usual magnificence. So the votaries of Thespis3
were free to testify their admiration for the noble science of self-defence, by taking tickets for the dinner at ten-and-sixpence a-piece, the banquet being, as Mr. Montressor, the comedian above-mentioned, remarked, with more energy than elegance, a cheap blow-out, as the dinner would last the guests who partook of it two days, and the indigestion attendant thereon would carry them through the rest of the week.
I shall not enter into the details of the pugilistic dinner, but will introduce the reader into the banquet-hall at rather a late stage in the proceedings; in point of fact, just as the festival is about to break up. It is two o’clock in the morning; the table is strewn with the débris of a dessert, in which figs, almonds and raisins, mixed biscuits, grape-stalks, and apple and orange-peel seem rather to predominate. The table is a very field of Cressy or Waterloo, as to dead men in the way of empty bottles; good execution having evidently been done upon Mr. Hemmar’s well-stocked cellar. From the tumblers and spoons before each guest, however, it is also evident that the festive throng has followed the example of Mr. Sala’s renowned hero, and after having tried a “variety of foreign drains,” has gone back to gin-and-water pur et simple. It is rather a peculiar and paradoxical quality of neat wines that they have, if anything, rather an untidy effect on those who drink them: certainly there is a looseness about the hair, a thickness and indecision in the speech, and an erratic and irrelevant energy and emphasis in the gestures of the friends of the Smasher, which is entirely at variance with our ordinary idea of the word “neat.” Yet, why should we quarrel with them on that account? They are harmless, and they are happy. It is surely no crime to see two gas-burners where, to the normal eye, there is only one; neither is it criminal to try five distinct times to enunciate the two words, “slightest misunderstanding,” and to fail ignominiously every time. If anything, that must be an amiable feeling which inspires a person with a sudden wild and almost pathetic friendship for a man he never saw before; such a friendship, in short, as pants to go to the block for him, or to become his surety to a loan-office for five pounds. Is it any such terrible offence against society to begin a speech of a patriotic nature, full of allusions to John Bull, Queen Victoria, Wooden Walls, and the Prize Ring, and to burst into tears in the middle thereof? Is there no benevolence in the wish to see your friend home, on account of your strong impression that he has taken a little too much, and that he will tumble against the railings and impale his chin upon the spikes; which, of course, you are in no danger of doing? Are these things crimes? No! We answer boldly, No! Then, hurrah for neat wines and free trade!4 Open wide our harbours to the purple grapes that flourish in the vineyards of sunny Burgundy and Bordeaux; and welcome, thrice welcome, to the blushing tides which Horace sang so many hundred years ago, when our beautiful Earth was younger, and maybe fairer, and held its course, though it is hard to believe it, very well indeed, without the genius of modern civilization at the helm.
There had been a silver cup, with one of the labours of Hercules—poor Hercules, how hard they work him in the sporting world!—embossed thereon, presented to the Smasher, as a tribute of respect for those British qualities which had endeared him to his admirers; and the Smasher’s health had been drunk with three-times-three, and a little one in; and then three more three-times-three, and another little one in; and the Smasher had returned thanks, and Brandolph of the Brand had proposed the Daddy Longlegs, and the Daddy Longlegs had made a very neat speech in the Lancashire dialect, which the gentlemen of the theatrical profession had pretended to understand, but had not understood; and a literary individual—being, in fact, the gentleman whose spirited writing we have quoted above, Mr. Jeffrey Hallam Jones, of the Liverpool Aristides, sporting and theatrical correspondent, and constant visitor at the Gloves—had proposed the Ring; and the Smasher had proposed the Press, for the liberties of which, as he said in noble language afterwards quoted in the Aristides, the gentlemen of the Prize Ring were prepared to fight as long as they had a bunch of fives to rattle upon the knowledge-box of the foe; and then the Daddy Longlegs had proposed the Stage, and its greatest glory, Brandolph of the Brand; and ultimately everybody had proposed everybody else—and then, some one suggesting a quiet song, everybody sang.
Now, as the demand for a song from each member of the festive band was of so noisy and imperative a nature that a refusal was not only a moral, but a physical impossibility, it would be unbecoming to remark that the melody and harmony of the evening were, at best, fluctuating. Annie Laurie was evidently a young lady of an undecided mind, and wandered in a pleasing manner from C into D, and from D into E, and then back again with laudable dexterity to C, for the finish. The gentleman whose heart was bowed down in the key of G might have rendered his performance more effective, had he given his statement of that affliction entirely in one key; and another gentleman, who sang a comic song of seventeen eight-line verses, with four lines of chorus to every verse, would have done better if he had confined himself to his original plan of singing super-humanly flat, instead of varying it, as he occasionally did, by singing preternaturally sharp. Of course it is an understood thing, that in a chorus, every singer should choose his own key, or where is the liberty of the subject?—so that need not be alluded to. But all this is over; and the guests of Mr. Hemmar have risen to depart, and have found the act of rising to depart by no means the trifle they thought it. It is very hard, of course, in such an atmosphere of tobacco, to find the door; and that, no doubt, is the reason why so many gentlemen seek for it in the wrong direction, and buffet insanely with their arms against the wall, in search of that orifice.
Now, there are two gentlemen in whom Mr. Hemmar’s neat wines have developed a friendship of the warmest description. Those two gentlemen are none other than the two master-spirits of the evening, the Left-handed Smasher and Brandolph of the Brand—who, by the bye, in private life, is known as Augustus de Clifford. His name is not written thus in the register of his baptism. On that malicious document he is described as William Watson; but to his friends and the public he has for fifteen years been admired and beloved as the great De Clifford, although often familiarly called Brandolph, in delicate allusion to his greatest character.
Now, Brandolph is positively convinced that the Smasher is not in a fit state to go home alone, and the Smasher is equally assured that Brandolph will do himself a mischief unless he is watched; so Brandolph is going to see the Smasher home to his hotel, which is a considerable distance from the Gloves Tavern; and then the Smasher is coming back again to see Brandolph to his lodgings, which are next door but two to the Gloves Tavern. So, after having bade good night to every one else, in some instances with tears, and always with an affectionate pathos verging upon tears, Brandolph flings on his loose overcoat, just as Manfred might have flung on his cloak prior to making a morning call upon the witch of the Alps, and the Smasher twists about five yards of particoloured woollen raiment, which he calls a comforter, round his neck, and they sally forth.
A glorious autumn night; the full moon high in the heavens, with a tiny star following in her wake like a well-bred tuft-hunter,5 and all the other stars keeping their distance, as if they had retired to their own “grounds,” as the French say, and were at variance with their queen on some matter connected with taxes. A glorious night; as light as day—nay, almost lighter; for it is a light which will bear looking at, and which does not dazzle our eyes as the sun does, when we are presumptuous enough to elevate our absurdly infinitesimal optics to his sublimity. Not a speck on the Liverpool pavement, not a dog asleep on the doorstep, or a dissipated cat sneaking home down an area, but is as visible as in the broad glare of noon. “Such a night as this” was almost too much for Lara, and Brandolph of the Brand grows sentimental.
“You wouldn’t think,” he murmurs, abstractedly, gazing at the moon, as he and the Smasher meander arm-in-arm over the pavement; “you wouldn’t think she hadn’t an atmosphere, would you? A man might build a theatre there, and he might get his company up in balloons; but I question if
it would pay, on account of that trivial want—she hasn’t got an atmosphere.”
“Hasn’t she?” said the Smasher, who certainly, if anything, had, in the matter of sobriety, the advantage of the tragedian. “You’ll have a black eye though, if you don’t steer clear of that ’ere lamp-post you’re makin’ for. I never did see such a cove,” he added; “with his hatmospheres, and his moons, and his b’loons, one would think he’d never had a glass or two of wine before.”
Now, to reach the hotel which the left-handed one honoured by his presence, it was necessary to pass the quay; and the sight of the water and the shipping reposing in the stillness under the light of the moon, again awakened all the poetry in the nature of the romantic Brandolph.
“It is beautiful!” he said, taking his pet position, and waving his arm in the orthodox circle, prior to pointing to the scene before him. “It is peaceful: it is we who are the blots upon the beauty of the earth. Oh, why—why are we false to the beautiful and heroic, as the author of the Lady of Lyons6 would observe? Why are we false to the true? Why do we drink too much and see double? Standing amidst the supreme silences, with breathless creation listening to our words, we look up to the stars that looked down upon the philosopher of the cave; and we feel that we have retrograded.” Here the eminent tragedian gave a lurch, and seated himself with some violence and precipitation on the kerbstone. “We feel,” he repeated, “that we have retrograded. It is a pity!”
“Now, who’s to pick him up?” inquired the Smasher, looking round in silent appeal to the lamp-posts about him. “Who’s to pick him up? I can’t; and if he sleeps here he’ll very likely get cold. Get up, you snivelling fool, can’t you?” he said, with some asperity, to the descendant of Thespis, who, after weeping piteously, was drying his eyes with an announce bill of the “Tyrant of the Ganges,” and by no means improving his personal appearance with the red and black printer’s ink thereof.