The days flew by. It was London’s play-time. The green and gold of early summer deepened and darkened; wondrous warm nights under England’s pale blue sky, when the streets rang with the joyous feet of youth, led in clear dawns and lovely glowing days. Hanaud made acquaintance with the wooded reaches of the Thames; Joan Carew sang “Louise” at Covent Garden with notable success; and the affair of the Semiramis Hotel, in the minds of the few who remembered it, was already added to the long list of unfathomed mysteries.
But towards the end of May there occurred a startling development. Joan Carew wrote to Mr. Ricardo that she would call upon him in the afternoon, and she begged him to secure the presence of Hanaud. She came as the clock struck; she was pale and agitated; and in the room where Calladine had first told the story of her visit she told another story which, to Mr. Ricardo’s thinking, was yet more strange and — yes — yet more suspicious.
“It has been going on for some time,” she began. “I thought of coming to you at once. Then I wondered whether, if I waited — oh, you’ll never believe me!”
“Let us hear!” said Hanaud patiently.
“I began to dream of that room, the two men disguised and masked, the still figure in the bed. Night after night! I was terrified to go to sleep. I felt the hand upon my mouth. I used to catch myself falling asleep, and walk about the room with all the lights up to keep myself awake.”
“But you couldn’t,” said Hanaud with a smile. “Only the old can do that.”
“No, I couldn’t,” she admitted; “and — oh, my nights were horrible until” — she paused and looked at her companions doubtfully— “until one night the mask slipped.”
“What — ?” cried Hanaud, and a note of sternness rang suddenly in his voice. “What are you saying?”
With a desperate rush of words, and the colour staining her forehead and cheeks, Joan Carew continued:
“It is true. The mask slipped on the face of one of the men — of the man who held me. Only a little way; it just left his forehead visible — no more.”
“Well?” asked Hanaud, and Mr. Ricardo leaned forward, swaying between the austerity of criticism and the desire to believe so thrilling a revelation.
“I waked up,” the girl continued, “in the darkness, and for a moment the whole scene remained vividly with me — for just long enough for me to fix clearly in my mind the figure of the apache with the white forehead showing above the mask.”
“When was that?” asked Ricardo.
“A fortnight ago.”
“Why didn’t you come with your story then?”
“I waited,” said Joan. “What I had to tell wasn’t yet helpful. I thought that another night the mask might slip lower still. Besides, I — it is difficult to describe just what I felt. I felt it important just to keep that photograph in my mind, not to think about it, not to talk about it, not even to look at it too often lest I should begin to imagine the rest of the face and find something familiar in the man’s carriage and shape when there was nothing really familiar to me at all. Do you understand that?” she asked, with her eyes fixed in appeal on Hanaud’s face.
“Yes,” replied Hanaud. “I follow your thought.”
“I thought there was a chance now — the strangest chance — that the truth might be reached. I did not wish to spoil it,” and she turned eagerly to Ricardo, as if, having persuaded Hanaud, she would now turn her batteries on his companion. “My whole point of view was changed. I was no longer afraid of falling asleep lest I should dream. I wished to dream, but — —”
“But you could not,” suggested Hanaud.
“No, that is the truth,” replied Joan Carew. “Whereas before I was anxious to keep awake and yet must sleep from sheer fatigue, now that I tried consciously to put myself to sleep I remained awake all through the night, and only towards morning, when the light was coming through the blinds, dropped off into a heavy, dreamless slumber.”
Hanaud nodded.
“It is a very perverse world, Miss Carew, and things go by contraries.”
Ricardo listened for some note of irony in Hanaud’s voice, some look of disbelief in his face. But there was neither the one nor the other. Hanaud was listening patiently.
“Then came my rehearsals,” Joan Carew continued, “and that wonderful opera drove everything else out of my head. I had such a chance, if only I could make use of it! When I went to bed now, I went with that haunting music in my ears — the call of Paris — oh, you must remember it. But can you realise what it must mean to a girl who is going to sing it for the first time in Covent Garden?”
Mr. Ricardo saw his opportunity. He, the connoisseur, to whom the psychology of the green room was as an open book, could answer that question.
“It is true, my friend,” he informed Hanaud with quiet authority. “The great march of events leaves the artist cold. He lives aloof. While the tumbrils thunder in the streets he adds a delicate tint to the picture he is engaged upon or recalls his triumph in his last great part.”
“Thank you,” said Hanaud gravely. “And now Miss Carew may perhaps resume her story.”
“It was the very night of my début,” she continued. “I had supper with some friends. A great artist. Carmen Valeri, honoured me with her presence. I went home excited, and that night I dreamed again.”
“Yes?”
“This time the chin, the lips, the eyes were visible. There was only a black strip across the middle of the face. And I thought — nay, I was sure — that if that strip vanished I should know the man.”
“And it did vanish?”
“Three nights afterwards.”
“And you did know the man?”
The girl’s face became troubled. She frowned.
“I knew the face, that was all,” she answered. “I was disappointed. I had never spoken to the man. I am sure of that still. But somewhere I have seen him.”
“You don’t even remember when?” asked Hanaud.
“No.” Joan Carew reflected for a moment with her eyes upon the carpet, and then flung up her head with a gesture of despair. “No. I try all the time to remember. But it is no good.”
Mr. Ricardo could not restrain a movement of indignation. He was being played with. The girl with her fantastic story had worked him up to a real pitch of excitement only to make a fool of him. All his earlier suspicions flowed back into his mind. What if, after all, she was implicated in the murder and the theft? What if, with a perverse cunning, she had told Hanaud and himself just enough of what she knew, just enough of the truth, to persuade them to protect her? What if her frank confession of her own overpowering impulse to steal the necklace was nothing more than a subtle appeal to the sentimental pity of men, an appeal based upon a wider knowledge of men’s weaknesses than a girl of nineteen or twenty ought to have? Mr. Ricardo cleared his throat and sat forward in his chair. He was girding himself for a singularly searching interrogatory when Hanaud asked the most irrelevant of questions:
“How did you pass the evening of that night when you first dreamed complete the face of your assailant?”
Joan Carew reflected. Then her face cleared.
“I know,” she exclaimed. “I was at the opera.”
“And what was being given?”
“The Jewels of the Madonna.”
Hanaud nodded his head. To Ricardo it seemed that he had expected precisely that answer.
“Now,” he continued, “you are sure that you have seen this man?”
“Yes.”
“Very well,” said Hanaud. “There is a game you play at children’s parties — is there not? — animal, vegetable, or mineral, and always you get the answer. Let us play that game for a few minutes, you and I.”
Joan Carew drew up her chair to the table and sat with her chin propped upon her hands and her eyes fixed on Hanaud’s face. As he put each question she pondered on it and answered. If she answered doubtfully he pressed it.
“You crossed on the Lucania from New York?”
“Yes.”
“Picture to yourself the dining-room, the tables. You have the picture quite clear?”
“Yes.”
“Was it at breakfast that you saw him?”
“No.”
“At luncheon?”
“No.”
“At dinner?”
She paused for a moment, summoning before her eyes the travellers at the tables.
“No.”
“Not in the dining-table at all, then?”
“No.”
“In the library, when you were writing letters, did you not one day lift your head and see him?”
“No.”
“On the promenade deck? Did he pass you when you sat in your deck-chair, or did you pass him when he sat in his chair?”
“No.”
Step by step Hanaud took her back to New York to her hotel, to journeys in the train. Then he carried her to Milan where she had studied. It was extraordinary to Ricardo to realise how much Hanaud knew of the curriculum of a student aspiring to grand opera. From Milan he brought her again to New York, and at the last, with a start of joy, she cried: “Yes, it was there.”
Hanaud took his handkerchief from his pocket and wiped his forehead.
“Ouf!” he grunted. “To concentrate the mind on a day like this, it makes one hot, I can tell you. Now, Miss Carew, let us hear.”
It was at a concert at the house of a Mrs. Starlingshield in Fifth Avenue and in the afternoon. Joan Carew sang. She was a stranger to New York and very nervous. She saw nothing but a mist of faces whilst she sang, but when she had finished the mist cleared, and as she left the improvised stage she saw the man. He was standing against the wall in a line of men. There was no particular reason why her eyes should single him out, except that he was paying no attention to her singing, and, indeed, she forgot him altogether afterwards.
“I just happened to see him clearly and distinctly,” she said. “He was tall, clean-shaven, rather dark, not particularly young — thirty-five or so, I should say — a man with a heavy face and beginning to grow stout. He moved away whilst I was bowing to the audience, and I noticed him afterwards walking about, talking to people.”
“Do you remember to whom?”
“No.”
“Did he notice you, do you think?”
“I am sure he didn’t,” the girl replied emphatically. “He never looked at the stage where I was singing, and he never looked towards me afterwards.”
She gave, so far as she could remember, the names of such guests and singers as she knew at that party. “And that is all,” she said.
“Thank you,” said Hanaud. “It is perhaps a good deal. But it is perhaps nothing at all.”
“You will let me hear from you?” she cried, as she rose to her feet.
“Miss Carew, I am at your service,” he returned. She gave him her hand timidly and he took it cordially. For Mr. Ricardo she had merely a bow, a bow which recognised that he distrusted her and that she had no right to be offended. Then she went, and Hanaud smiled across the table at Ricardo.
“Yes,” he said, “all that you are thinking is true enough. A man who slips out of society to indulge a passion for a drug in greater peace, a girl who, on her own confession, tried to steal, and, to crown all, this fantastic story. It is natural to disbelieve every word of it. But we disbelieved before, when we left Calladine’s lodging in the Adelphi, and we were wrong. Let us be warned.”
“You have an idea?” exclaimed Ricardo.
“Perhaps!” said Hanaud. And he looked down the theatre column of the Times. “Let us distract ourselves by going to the theatre.”
“You are the most irritating man!” Mr. Ricardo broke out impulsively. “If I had to paint your portrait, I should paint you with your finger against the side of your nose, saying mysteriously: ‘I know,’ when you know nothing at all.”
Hanaud made a schoolboy’s grimace. “We will go and sit in your box at the opera to-night,” he said, “and you shall explain to me all through the beautiful music the theory of the tonic sol-fa.”
They reached Covent Garden before the curtain rose. Mr. Ricardo’s box was on the lowest tier and next to the omnibus box.
“We are near the stage,” said Hanaud, as he took his seat in the corner and so arranged the curtain that he could see and yet was hidden from view. “I like that.”
The theatre was full; stalls and boxes shimmered with jewels and satin, and all that was famous that season for beauty and distinction had made its tryst there that night.
“Yes, this is wonderful,” said Hanaud. “What opera do they play?” He glanced at his programme and cried, with a little start of surprise: “We are in luck. It is The Jewels of the Madonna.”
“Do you believe in omens?” Mr. Ricardo asked coldly. He had not yet recovered from his rebuff of the afternoon.
“No, but I believe that Carmen Valeri is at her best in this part,” said Hanaud.
Mr. Ricardo belonged to that body of critics which must needs spoil your enjoyment by comparisons and recollections of other great artists. He was at a disadvantage certainly to-night, for the opera was new. But he did his best. He imagined others in the part, and when the great scene came at the end of the second act, and Carmen Valeri, on obtaining from her lover the jewels stolen from the sacred image, gave such a display of passion as fairly enthralled that audience, Mr. Ricardo sighed quietly and patiently.
“How Calvé would have brought out the psychological value of that scene!” he murmured; and he was quite vexed with Hanaud, who sat with his opera glasses held to his eyes, and every sense apparently concentrated on the stage. The curtains rose and rose again when the act was concluded, and still Hanaud sat motionless as the Sphynx, staring through his glasses.
“That is all,” said Ricardo when the curtains fell for the fifth time.
“They will come out,” said Hanaud. “Wait!” And from between the curtains Carmen Valeri was led out into the full glare of the footlights with the panoply of jewels flashing on her breast. Then at last Hanaud put down his glasses and turned to Ricardo with a look of exultation and genuine delight upon his face which filled that season-worn dilettante with envy.
“What a night!” said Hanaud. “What a wonderful night!” And he applauded until he split his gloves. At the end of the opera he cried: “We will go and take supper at the Semiramis. Yes, my friend, we will finish our evening like gallant gentlemen. Come! Let us not think of the morning.” And boisterously he slapped Ricardo in the small of the back.
In spite of his boast, however, Hanaud hardly touched his supper, and he played with, rather than drank, his brandy and soda. He had a little table to which he was accustomed beside a glass screen in the depths of the room, and he sat with his back to the wall watching the groups which poured in. Suddenly his face lighted up.
“Here is Carmen Valeri!” he cried. “Once more we are in luck. Is it not that she is beautiful?”
Mr. Ricardo turned languidly about in his chair and put up his eyeglass.
“So, so,” he said.
“Ah!” returned Hanaud. “Then her companion will interest you still more. For he is the man who murdered Mrs. Blumenstein.”
Mr. Ricardo jumped so that his eyeglass fell down and tinkled on its cord against the buttons of his waistcoat.
“What!” he exclaimed. “It’s impossible!” He looked again. “Certainly the man fits Joan Carew’s description. But—” He turned back to Hanaud utterly astounded. And as he looked at the Frenchman all his earlier recollections of him, of his swift deductions, of the subtle imagination which his heavy body so well concealed, crowded in upon Ricardo and convinced him.
“How long have you known?” he asked in a whisper of awe.
“Since ten o’clock to-night.”
“But you will have to find the necklace before you can prove it.”
“The necklace!” said Hanaud carelessly. “That is already found.”
Mr. Ricardo had been longing for a t
hrill. He had it now. He felt it in his very spine.
“It’s found?” he said in a startled whisper.
“Yes.”
Ricardo turned again, with as much indifference as he could assume, towards the couple who were settling down at their table, the man with a surly indifference, Carmen Valeri with the radiance of a woman who has just achieved a triumph and is now free to enjoy the fruits of it. Confusedly, recollections returned to Ricardo of questions put that afternoon by Hanaud to Joan Carew — subtle questions into which the name of Carmen Valeri was continually entering. She was a woman of thirty, certainly beautiful, with a clear, pale face and eyes like the night.
“Then she is implicated too!” he said. What a change for her, he thought, from the stage of Covent Garden to the felon’s cell, from the gay supper-room of the Semiramis, with its bright frocks and its babel of laughter, to the silence and the ignominious garb of the workrooms in Aylesbury Prison!
“She!” exclaimed Hanaud; and in his passion for the contrasts of drama Ricardo was almost disappointed. “She has nothing whatever to do with it. She knows nothing. André Favart there — yes. But Carmen Valeri! She’s as stupid as an owl, and loves him beyond words. Do you want to know how stupid she is? You shall know. I asked Mr. Clements, the director of the opera house, to take supper with us, and here he is.”
Hanaud stood up and shook hands with the director. He was of the world of business rather than of art, and long experience of the ways of tenors and prima-donnas had given him a good-humoured cynicism.
“They are spoilt children, all tantrums and vanity,” he said, “and they would ruin you to keep a rival out of the theatre.”
He told them anecdote upon anecdote.
“And Carmen Valeri,” Hanaud asked in a pause; “is she troublesome this season?”
“Has been,” replied Clements dryly. “At present she is playing at being good. But she gave me a turn some weeks ago.” He turned to Ricardo. “Superstition’s her trouble, and André Favart knows it. She left him behind in America this spring.”
“America!” suddenly cried Ricardo; so suddenly that Clements looked at him in surprise.
“She was singing in New York, of course, during the winter,” he returned. “Well, she left him behind, and I was shaking hands with myself when he began to deal the cards over there. She came to me in a panic. She had just had a cable. She couldn’t sing on Friday night. There was a black knave next to the nine of diamonds. She wouldn’t sing for worlds. And it was the first night of The Jewels of the Madonna! Imagine the fix I was in!”
Complete Works of a E W Mason Page 27