Part 3

He pulled an envelope out of his pocket and opened it; not without reluctance. He hated letters; they always contained something unpleasant--nowadays, since his second marriage. This was from his sister. He began skimming through the insulting home-truths of which it was composed. The words "indecent haste," "social suicide," "scarcely cold in her grave," "person of the lower classes," all occurred. They were inevitable now in any communication from a well-meaning and right-thinking relative. Impatient, he was about to tear the stupid letter to pieces when his eye fell on a sentence at the bottom of the third page. His heart beat with uncomfortable violence as he read it. It was too monstrous! Janet Spence was going about telling everyone that he had poisoned his wife in order to marry Doris. What damnable malice! Ordinarily a man of the suavest temper, Mr. Hutton found himself trembling with rage. He took the childish satisfaction of calling names--he cursed the woman.

Then suddenly he saw the ridiculous side of the situation. The notion that he should have murdered anyone in order to marry Doris! If they only knew how miserably bored he was. Poor, dear Janet! She had tried to be malicious; she had only succeeded in being stupid.

A sound of footsteps aroused him; he looked round. In the garden below the little terrace the servant girl of the house was picking fruit. A Neapolitan, strayed somehow as far north as Florence, she was a specimen of the classical type--a little debased. Her profile might have been taken from a Sicilian coin of a bad period. Her features, carved floridly in the grand tradition, expressed an almost perfect stupidity. Her mouth was the most beautiful thing about her; the calligraphic hand of nature had richly curved it into an expression of mulish bad temper.... Under her hideous black clothes, Mr. Hutton divined a powerful body, firm and massive. He had looked at her before with a vague interest and curiosity. To-day the curiosity defined and focused itself into a desire. An idyll of Theocritus. Here was the woman; he, alas, was not precisely like a goatherd on the volcanic hills. He called to her.

"Armida!"

The smile with which she answered him was so provocative, attested so easy a virtue, that Mr. Hutton took fright. He was on the brink once more--on the brink. He must draw back, oh! quickly, quickly, before it was too late. The girl continued to look up at him.

"_Ha chiamito_?" she asked at last.

Stupidity or reason? Oh, there was no choice now. It was imbecility every time.

"_Scendo_" he called back to her. Twelve steps led from the garden to the terrace. Mr. Hutton counted them. Down, down, down, down.... He saw a vision of himself descending from one circle of the inferno to the next--from a darkness full of wind and hail to an abyss of stinking mud.

V

For a good many days the Hutton case had a place on the front page of every newspaper. There had been no more popular murder trial since George Smith had temporarily eclipsed the European War by drowning in a warm bath his seventh bride. The public imagination was stirred by this tale of a murder brought to light months after the date of the crime. Here, it was felt, was one of those incidents in human life, so notable because they are so rare, which do definitely justify the ways of God to man. A wicked man had been moved by an illicit passion to kill his wife. For months he had lived in sin and fancied security----only to be dashed at last more horribly into the pit he had prepared for himself. Murder will out, and here was a case of it. The readers of the newspapers were in a position to follow every movement of the hand of God. There had been vague, but persistent, rumours in the neighbourhood; the police had taken action at last. Then came the exhumation order, the post-mortem examination, the inquest, the evidence of the experts, the verdict of the coroner's jury, the trial, the condemnation. For once Providence had done its duty, obviously, grossly, didactically, as in a melodrama. The newspapers were right in making of the case the staple intellectual food of a whole season.

Mr. Hutton's first emotion when he was summoned from Italy to give evidence at the inquest was one of indignation. It was a monstrous, a scandalous thing that the police should take such idle, malicious gossip seriously. When the inquest was over he would bring an action for malicious prosecution against the Chief Constable; he would sue the Spence woman for slander.

The inquest was opened; the astonishing evidence unrolled itself. The experts had examined the body, and had found traces of arsenic; they were of opinion that the late Mrs. Hutton had died of arsenic poisoning.

Arsenic poisoning.... Emily had died of arsenic poisoning? After that, Mr. Hutton learned with surprise that there was enough arsenicated insecticide in his green-houses to poison an army.

It was now, quite suddenly, that he saw it: there was a case against him. Fascinated, he watched it growing, growing, like some monstrous tropical plant. It was enveloping him, surrounding him; he was lost in a tangled forest.

When was the poison administered? The experts agreed that it must have been swallowed eight or nine hours before death. About lunch-time? Yes, about lunch-time. Clara, the parlour-maid, was called. Mrs. Hutton, she remembered, had asked her to go and fetch her medicine. Mr. Hutton had volunteered to go instead; he had gone alone. Miss Spence--ah, the memory of the storm, the white aimed face! the horror of it all!--Miss Spence confirmed Clara's statement, and added that Mr. Hutton had come back with the medicine already poured out in a wineglass, not in the bottle.

Mr. Hutton's indignation evaporated. He was dismayed, frightened. It was all too fantastic to be taken seriously, and yet this nightmare was a fact it was actually happening.

M'Nab had seen them kissing, often. He had taken them for a drive on the day of Mrs. Hutton's death. He could see them reflected in the wind-screen, sometimes out of the tail of his eye.

The inquest was adjourned. That evening Doris went to bed with a headache. When he went to her room after dinner, Mr. Hutton found her crying.

"What's the matter?" He sat down on the edge of her bed and began to stroke her hair. For a long time she did not answer, and he went on stroking her hair mechanically, almost unconsciously; sometimes, even he bent down and kissed her bare shoulder. He had his own affairs, however, to think about. What had happened? How was it that the stupid gossip had actually come true? Emily had died of arsenic poisoning. It was absurd, impossible. The order of things had been broken, and he was at the mercy of an irresponsibility. What had happened, what was going to happen? He was interrupted in the midst of his thoughts.

"It's my fault--it's my fault!" Doris suddenly sobbed out. "I shouldn't have loved you; I oughtn't to have let you love me. Why was I ever born?"

Mr. Hutton didn't say anything but looked down in silence at the abject figure of misery lying on the bed.

"If they do anything to you I shall kill myself."

She sat up, held him for a moment at arm's length, and looked at him with a kind of violence, as though she were never to see him again.

"I love you, I love you, I love you." She drew him, inert and passive, towards her, clasped him, pressed herself against him. "I didn't know you loved me as much as that, Teddy Bear. But why did you do it--why did you do it?"

Mr. Hutton undid her clasping arms and got up. His face became very red. "You seem to take it for granted that I murdered my wife," he said. "It's really too grotesque. What do you all take me for? A cinema hero?" He had begun to lose his temper. All the exasperation, all the fear and bewilderment of the day, was transformed into a violent anger against her. "It's all such damned stupidity. Haven't you any conception of a civilised man's mentality? Do I look the sort of man who'd go about slaughtering people? I suppose you imagined I was so insanely in love with you that I could commit any folly. When will you women understand that one isn't insanely in love? All one asks for is a quiet life, which you won't allow one to have. I don't know what the devil ever induced me to marry you. It was all a damned stupid, practical joke. And now you go about saying I'm a murderer. I won't stand it."

Mr. Hutton stamped towards the door. He had said horrible things, he knew--odious things that he ought speedily to unsay. But he wouldn't. He closed the door behind him.

"Teddy Bear!" He turned the handle; the latch clicked into place. Teddy Bear! The voice that came to him through the closed door was agonised. Should he go back? He ought to go back. He touched the handle, then withdrew his fingers and quickly walked away. When he was half-way down the stairs he halted. She might try to do something silly--throw herself out of the window or God knows what! He listened attentively; there was no sound. But he pictured her very clearly, tiptoeing across the room, lifting the sash as high as it would go, leaning out into the cold night air. It was raining a little. Under the window lay the paved terrace. How far below? Twenty-five or thirty feet? Once, when he was walking along Piccadilly, a dog had jumped out of a third-storey window of the Ritz. He had seen it fall; he had heard it strike the pavement. Should he go back? He was damned if he would; he hated her.

He sat for a long time in the library. What had happened? What was happening? He turned the question over and over in his mind and could find no answer. Suppose the nightmare dreamed itself out to its horrible conclusion. Death was waiting for him. His eyes filled with tears; he wanted so passionately to live. "Just to be alive." Poor Emily had wished it too, he remembered: "Just to be alive." There were still so many places in this astonishing world unvisited, so many queer delightful people still unknown, so many lovely women never so much as seen. The huge white oxen would still be dragging their wains along the Tuscan roads, the cypresses would still go up, straight as pillars, to the blue heaven; but he would not be there to see them. And the sweet southern wines--Tear of Christ and Blood of Judas--others would drink them, not he. Others would walk down the obscure and narrow lanes between the bookshelves in the London Library, sniffing the dusty perfume of good literature, peering at strange titles, discovering unknown names, exploring the fringes of vast domains of knowledge. He would be lying in a hole in the ground. And why, why? Confusedly he felt that some extraordinary kind of justice was being done. In the past he had been wanton and imbecile and irresponsible. Now Fate was playing as wantonly, as irresponsibly, with him. It was tit for tat, and God existed after all.

He felt that he would like to pray. Forty years ago he used to kneel by his bed every evening. The nightly formula of his childhood came to him almost unsought from some long unopened chamber of the memory. "God bless Father and Mother, Tom and Cissie and the Baby, Mademoiselle and Nurse, and everyone that I love, and make me a good boy. Amen." They were all dead now all except Cissie.

His mind seemed to soften and dissolve; a great calm descended upon his spirit. He went upstairs to ask Doris's forgiveness. He found her lying on the couch at the foot of the bed. On the floor beside her stood a blue bottle of liniment, marked "Not to be taken"; she seemed to have drunk about half of it.

"You didn't love me," was all she said when she opened her eyes to find him bending over her.

Dr. Libbard arrived in time to prevent any very serious consequences. "You mustn't do this again," he said while Mr. Hutton was out of the room.

"What's to prevent me?" she asked defiantly.

Dr. Libbard looked at her with his large, sad eyes. "There's nothing to prevent you," he said. "Only yourself and your baby. Isn't it rather bad luck on your baby, not allowing it to come into the world because you want to go out of it?"

Doris was silent for a time. "All right," she whispered. "I won't."

Mr. Hutton sat by her bedside for the rest of the night. He felt himself now to be indeed a murderer. For a time he persuaded himself that he loved this pitiable child. Dozing in his chair, he woke up, stiff and cold, to find himself drained dry, as it were, of every emotion. He had become nothing but a tired and suffering carcase. At six o'clock he undressed and went to bed for a couple of hours' sleep. In the course of the same afternoon the coroner's jury brought in a verdict of "Wilful Murder," and Mr. Hutton was committed for trial.

VI

Miss Spence was not at all well. She had found her public appearances in the witness-box very trying, and when it was all over she had something that was very nearly a breakdown. She slept badly, and suffered from nervous indigestion. Dr. Libbard used to call every other day. She talked to him a great deal--mostly about the Hutton case.... Her moral indignation was always on the boil. Wasn't it appalling to think that one had had a murderer in one's house. Wasn't it extraordinary that one could have been for so long mistaken about the man's character? (But she had had an inkling from the first.) And then the girl he had gone off with--so low class, so little better than a prostitute. The news that the second Mrs. Hutton was expecting a baby the posthumous child of a condemned and executed criminal--revolted her; the thing was shocking an obscenity. Dr. Libbard answered her gently and vaguely, and prescribed bromide.

One morning he interrupted her in the midst of her customary tirade. "By the way," he said in his soft, melancholy voice, "I suppose it was really you who poisoned Mrs. Hutton."

Miss Spence stared at him for two or three seconds with enormous eyes, and then quietly said, "Yes." After that she started to cry.

"In the coffee, I suppose."

She seemed to nod assent. Dr. Libbard took out his fountain-pen, and in his neat, meticulous calligraphy wrote out a prescription for a sleeping draught.

II: PERMUTATIONS AMONG THE NIGHTINGALES

A PLAY

_It is night on the terrace outside the Hotel Cimarosa. Part of the garden façade of the hotel is seen at the back of the stage--a bare white wall, with three French windows giving on to balconies about ten feet from the ground, and below them, leading from the terrace to the lounge, a double door of glass, open now, through which a yellow radiance streams out into the night. On the paved terrace stand two or three green iron tables and chairs. To the left a mass of dark foliage, ilex and cypress, in the shadow of which more tables and chairs are set. At the back to the left a strip of sky is visible between the corner of the hotel and the dark trees, blue and starry, for it is a marvellous June evening. Behind the trees the ground slopes steeply down and down to an old city in the valley below, of whose invisible presence you are made aware by the sound of many bells wafted up from a score of slender towers in a sweet and melancholy discord that seems to mourn the passing of each successive hour. When the curtain rises the terrace is almost deserted; the hotel dinner is not yet over. A single guest_, COUNT ALBERTO TIRETTA, _is discovered, sitting in a position of histrionic despair at one of the little green tables. A waiter stands respectfully sympathetic at his side_, ALBERTO _is a little man with large lustrous eyes and a black moustache, about twenty-five years of age. He has the pathetic charm of an Italian street-boy with an organ--almost as pretty and sentimental as Murillo's little beggars._

ALBERTO (_making a florid gesture with his right hand and with his left covering his eyes_). Whereupon, Waiter (_he is reciting a tale of woes_), she slammed the door in my face. (_He brings down his gesticulating right hand with a crash on to the table_.)

WAITER. In your face, Signore? Impossible!

ALBERTO. Impossible, but a fact. Some more brandy, please; I am a little weary. (_The waiter uncorks the bottle he has been holding under his arm and fills Alberto's glass._)

WAITER. That will be one lira twenty-five, Signore.

ALBERTO (_throwing down a note_). Keep the change.

WAITER (_bowing_). Thank you, Signore. But if I were the Signore I should beat her. (_He holds up the Cognac bottle and by way of illustration slaps its black polished flanks._)

ALBERTO. Beat her? But I tell you I am in love with her.

WAITER. All the more reason, then, Signore. It will be not only a stern disciplinary duty, but a pleasure as well; oh, I assure you, Signore, a pleasure.

ALBERTO. Enough, enough. You sully the melancholy beauty of my thoughts. My feelings at this moment are of an unheard-of delicacy and purity. Respect them, I beg you. Some more brandy, please.

WAITER (_pouring out the brandy_). Delicacy, purity.... Ah, believe me, Signore ... That will be one lira twenty-five.

ALBERTO (_throwing down another note with the same superbly aristocratic gesture_). Keep the change.

WAITER. Thank you, Signore. But as I was saying, Signore, delicacy, purity.... You think I do not understand such sentiments. Alas, Signore, beneath the humblest shirt-front there beats a heart. And if the Signore's sentiments are too much for him, I have a niece. Eighteen years old, and what eyes, what forms!

ALBERTO. Stop, stop. Respect my feelings, Waiter, as well as the ears of the young lady (_he points towards the glass doors_). Remember she is an American. (_The Waiter, bows and goes into the hotel_.)

SIDNEY DOLPHIN _and_ MISS AMY TOOMIS

_come out together on to the terrace._ MISS AMY _supports a well-shaped head on one of the most graceful necks that ever issued from Minneapolis. The eyes are dark, limpid, ingenuous; the mouth expresses sensibility. She is twenty-two and the heiress of those ill-gotten Toomis millions_. SIDNEY DOLPHIN _has a romantic aristocratic appearance. The tailoring of_ 1830 _would suit him. Balzac would have described his face as_ plein de poésie. _In effect he does happen to be a poet. His two volumes of verse, "Zeotrope and 'Trembling Ears," have been recognised by intelligent critics as remarkable. How far they are poetry nobody, least of all Dolphin himself, is certain. They may be merely the ingenious products of a very cultured and elaborate brain. Mere curiosities; who knows? His age is twenty-seven. They sit down at one of the little iron tables_, ALBERTO _they do not see; the shadow of the trees conceals him. For his part, he is too much absorbed in savouring his own despair to pay any attention to the newcomers. There is a long, uncomfortable silence_. DOLPHIN _assumes the Thinker's mask--the bent brow, the frown, the finger to the forehead_, AMY _regards this romantic gargoyle with some astonishment. Pleased with her interest in him_, DOLPHIN _racks his brains to think of some way of exploiting this curiosity to his own advantage; but he is too shy to play any of the gambits which his ingenuity suggests_. AMY _makes a social effort and speaks, in chanting Middle Western tones._ AMY. It's been a wonderful day, hasn't it?

DOLPHIN (_starting, as though roused from profoundest thought_). Yes, yes, it has.

AMY. You don't often get it as fine as this in England, I guess.

DOLPHIN. Not often.

AMY. Nor do we over at home.

DOLPHIN. So I should suppose. (_Silence. A spasm of anguish crosses_ DOLPHIN'S _face; then he reassumes the old Thinker's mask._ AMY _looks at him for a little longer, then, unable to suppress her growing curiosity, she says with a sudden burst of childish confidence:_)

AMY. It must be wonderful to be able to think as hard as you do, Mr. Dolphin. Or are you sad about something?

DOLPHIN (_looks up, smiles, and blushes; a spell has been broken_). The finger at the temple, Miss Toomis, is not the barrel of a revolver.

AMY. That means you're not specially sad about anything. Just thinking.

DOLPHIN. Just thinking.

AMY. What about?

DOLPHIN. Oh, just life, you know--life and letters.

AMY. Letters? Do you mean love letters.

DOLPHIN. No, no. Letters in the sense of literature; letters as opposed to life.

AMY. (_disappointed_). Oh, literature. They used to teach us literature at school. But I could never understand Emerson. What do you think about literature for?

DOLPHIN. It interests me, you know. I read it; I even try to write it.

AMY (_very much excited_). What, are you a writer, a poet, Mr. Dolphin?

DOLPHIN. Alas, it is only too true; I am.

AMY. But what do you write?

DOLPHIN. Verse and prose, Miss Toomis. Just verse and prose.

AMY (_with enthusiasm_). Isn't that interesting. I've never met a poet before, you know.

DOLPHIN. Fortunate being. Why, before I left England I attended a luncheon of the Poetry Union at which no less than a hundred and eighty-nine poets were present. The sight of them made me decide to go to Italy.

AMY. Will you show me your books?

DOLPHIN. Certainly not, Miss Toomis. That would ruin our friendship. I am insufferable in my writings. In them I give vent to all the horrible thoughts and impulses which I am too timid to express or put into practice in real life. Take me as you find me here, a decent specimen of a man, shy but able to talk intelligently when the layers of ice are broken, aimless, ineffective, but on the whole quite a good sort.

AMY. But I know that man already, Mr. Dolphin. I want to know the poet. Tell me what the poet is like.

DOLPHIN. He is older, Miss Toomis, than the rocks on which he sits. He is villainous. He is ... but there, I really must stop. It was you who set me going, though. Did you do it on purpose.

AMY. Do what on purpose?

DOLPHIN. Make me talk about myself. If you want to get people to like you, you must always lead the conversation on to the subject of their characters. Nothing pleases them so much. They'll talk with enthusiasm for hours and go away saying that you're the most charming, cleverest person they've ever met. But of course you knew that already. You re Machiavellian.

AMY. Machiavellian? You're the first person that's ever said that. I always thought I was very simple and straight-forward. People say about me that.... Ah, now I'_m_ talking about myself. That was unscrupulous of you. But you shouldn't have told me about the trick if you wanted it to succeed.

DOLPHIN. Yes. It was silly of me. If I hadn't, you'd have gone on talking about yourself and thought me the nicest man in the world.

AMY. I want to hear about your poetry. Are you writing any now?

DOLPHIN. I have composed the first line of a magnificent epic. But I can't get any further.

AMY. How does it go?

DOLPHIN. Like this (_he clears his throat_). "Casbeen has been, and Moghreb is no more." Ah, the transience of all sublunary things! But inspiration has stopped short there.

AMY. What exactly does it mean?

DOLPHIN. Ah, there you re asking too much, Miss Toomis. Waiter, some coffee for two.

WAITER (_who is standing in the door of the lounge_). Si, Signore. Will the lady and gentleman take it here, or in the gardens, perhaps?

DOLPHIN. A good suggestion. Why shouldn't the lady and gentleman take it in the garden?

AMY. Why not?

DOLPHIN. By the fountain, then, Waiter. We can talk about ourselves there to the tune of falling waters.

AMY. And you shall recite your poetry, Mr. Dolphin. I just love poetry. Do you know Mrs. Wilcox's _Poems of Passion_? (_They go out to the left. A nightingale utters two or three phrases of song and from far down the bells of the city jangle the three-quarters and die slowly away into the silence out of which they rose and came together._)