Тринадцать гостей / Thirteen Guests
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Zena Wilding, on the other hand, was lively and talkative, and while she worried vivaciously about her luggage, she never missed an opportunity to advertise her dentist. Later on, the solemn station-master paused in the important business of writing “We could do—” to recollect her dazzling teeth before concluding “—with new fire-buckets.” And the porter actually dreamt of the teeth, earnestly filling a freight train with tooth-paste to keep them white. But the dazzling teeth made no impression on Lionel Bultin, saving as possible matter for a theatrical paragraph. He felt no personal emotion about them. He had done with personal emotion ten years ago....
In order to understand Bultin’s attitude, and the detachment with which his trained intelligence now absorbed an incident frightful with suppressed emotion, it is necessary to travel back those ten years to the day when, an eager and unsuccessful young journalist, he came to his great decision. In a not-very-attractive bed-sitting-room he had faced his mirror frankly, and had said:
“You’re making a hash of things. Why is it?”
Yes, why was it? Why did people pay no attention to him? Why had an editor refused, for the third time, to see him that very day? Did eagerness and tenacity count for nothing? Willingness—obligingness—sensitiveness? Bultin possessed all these qualities, plus an average capacity to string words together. So why was he living in this faded bed-sitting-room? Why could he not go across to the restaurant opposite and order a wing of chicken? Why was he hungry?
And then, suddenly, his reflection had changed. The despair and the eagerness had left it. Something quite new had entered and, because he was intelligent as well as hungry, he studied it. The new thing was a queer, cold callousness. A callousness that, because it had lost its faith in humanity, was independent of humanity. He felt as though, all at once, his sensitive soul had died, giving a new functioning power to what remained.
“This means success or the river,” he thought soberly.
He put on his hat and he went out, undecided. The river lay on his right, and the office of the inaccessible editor on his left. He turned to the left. The commissionaire whom he had interviewed thrice saw him coming, and exclaimed, “Can’t you take ‘No’ for an answer?”
Bultin wrote something on a slip of paper. “Give that to your fool of an editor,” he said, and left the office. He had written on the paper: “I could have given you a signed article by Bernard Shaw. Now you can sing for it. The above address will find me.”
Next day the signed article appeared in a rival paper. The editor, a weak man who spent his life in fear of a dropping circulation, never learned that Bultin had not supplied the rival paper with the article. Two hours before Bultin had scribbled his rude note, a friend of his had sold it elsewhere. The editor sent for Bultin and offered him a commission. Bultin turned it down.
He managed to borrow fifty pounds. He began a life of curious isolation. He was ever present in journalistic and social circles, but he remained aloof in his attitude. His manner indicated personal circumstances that did not exist. You would have thought, if you had met Lionel Bultin during those weeks, that he had suddenly come into a large fortune, although he showed no generosity in spending it, and that he could now snap his fingers at life. A successful man attracts success.
Whether Bultin would have achieved his purpose without the assistance of a small social column is not certain. This column was the last remnant of his evaporating work at the time of his decision, and it was itself on the verge of evaporation. Now, however, it began to wake up. It ceased to be soft and kindly. Amazing bits about amazing people appeared in it. Startling bits. Rude bits. With still a few complimentary bits, as bait. All signed Bultin.
“What does Bultin say?” people started asking.
An actress in the Savoy grill-room—yes, Bultin now went there—left her table to tell him of a pearl necklace she had lost. Two or three weeks earlier he would have travelled five miles to the actress. Now she had travelled five yards to him. Twice the alleged value of the necklace was given exclusively in his column next day, with an account of how the actress had left her pâté de fois gras to tell him of the loss. It had really been tomato soup, and the necklace had never been lost at all; but such minor matters were unimportant. The important matter was that the concluding sentence of Bultin’s paragraph was nearly, but not quite, libellous.
Bultin’s column grew to two. Then to a full page. In a short while the fifty pounds was repaid. Bultin had killed himself, and never had a moment’s financial anxiety afterwards. His carcass grew rich....
And, just as the actress in the Savoy grill-room had angled for his publicity, so Zena Wilding posed for him now on Flensham platform, striving to create a paragraph out of her luggage, her Paris hat, and her teeth.
“Oh, dear! Am I keeping everybody waiting?” she gushed, as Mr. and Mrs. Chater moved towards the car.
“Yes,” answered Bultin. (His column should mention later how he had agreed with her.)
Then Zena forgot all about her luggage and her hat and her teeth. She also forgot Bultin. The man who had waited for hours in the Black Stag was standing before her.
She gave a gasp. For an instant she looked almost old. She stared at the man without moving, but Bultin gained an impression that she was arching her back like a cat. Then she turned swiftly, and dived towards the car. Mrs. Chater was just getting in.
“Is anything the matter?” inquired Mrs. Chater, apathetically.
“No, nothing!” cried Zena. “Which corner would you like?”
Mr. Chater turned, and saw the man. He also stared. But his manner was considerably more composed than Zena’s. His expression of surprise changed to a smile, and he walked up to the man. The man had an unlit cigarette in his mouth.
“Want a light?” inquired Mr. Chater.
The man looked livid. Mr. Chater struck a match. The man blew it out.
“See you presently,” he muttered.
“I wouldn’t,” answered Mr. Chater quietly.
Two seconds later, Mr. Chater was entering the car.
About to follow, Bultin changed his mind and strolled casually up to the man.
“You might as well,” he remarked, taking out his lighter. “You’re supposed to burn one end, you know.”
The man switched round violently. Ten years previously Bultin would have dreamt of the expression in the man’s eyes. Now he merely found it undoubtedly interesting.
“I am Lionel Bultin,” he said. “I am spending the week-end at Bragley Court. I shall be there till Monday morning. I pay for material—provided, of course, that I use it.”
For the second time that evening, the man escaped a brainstorm by the breadth of a hair. The first time it had nearly been caused by a penn’orth of mechanical music.
“Bragley Court,” he repeated, suddenly calm. “You’re going there, too, eh?” He bent forward and accepted the light. As he withdrew his head he added, “You’ll get something to write about.”
Chapter VI. Spottings of a Leopard
The drive to Bragley Court was stiff and uncomfortable. Bultin never did anything to put people at their ease, and Zena Wilding’s forced vivacity was as unhelpful as Bultin’s silence. The one subject that most vitally interested the majority of the party was studiously avoided.
“Don’t you think there’s always a sort of a thrill, going to a new country house?” exclaimed Zena, trying nervously to be brilliant. “Something like the curtain going up on a play?”
“Yes,” answered Mrs. Chater dutifully.
It was not encouraging, but Zena prattled on:
“And then the guests—they’re like the characters—and you wonder what’s going to happen. Of course, nothing particular ever really does happen. Just as well! Suppose it did—a fire, or a burglary, or a murder! No, thank you, we’ll leave that to the dramatists!”
She glanced at Bultin. She was speaking partly for his benefit, though partly also to drive her mind from the disturbing moment just before she had entered the car. If she made her conversation scintillating, Bultin might report it.
But Bultin was gazing out of the window, inventing headlines, although his ear did not miss a word Zena said, and it was Mr. Chater this time who broke the silence with a murmured:
“What? Yes, quite.”
Mr. Chater was able to talk fluently on occasions, but this was not one of the occasions. He, also, was recalling the moment just before he had entered the car. Unlike Zena, however, he was not trying to forget it. He was dwelling on it, probing its meaning.
The actress made one more effort.
“I suppose I can’t help seeing drama in everything,” she said, forgetting that her drama rarely rose above the level of musical comedy. “Even when I was on the Riviera—do you know the Riviera?—it was there I met Lord Aveling—yes, even on my holiday I was always inventing plots about everything and everybody. Your mind just goes on working, you know, without your knowing it.” She glanced again at Bultin. He was still staring out of the window. It was very disappointing. Well, she must give him some definite news—perhaps that would wake him up. “Yes, but one wants to get back to work. Of course, I enjoyed my holiday immensely—after my illness—but it was far too long. Do you know, it seems years and years since I put on any make-up.” Bultin did make a mental note of that phrase. “But—well, I don’t believe it will be very long now. As a matter of fact—in strict confidence—I’ve got the play in my case at this moment!… Only perhaps you’d better not mention it just yet, Mr. Bultin?”
“I promise I won’t,” he answered.
The man was just a beast! She hoped earnestly that he would break his promise.
After that she gave up, and the journey continued in silence.
They reached their destination as Lord Aveling was greeting another guest who had just preceded them, and who had made the trip from London by car. “Earnshaw,” Bultin identified. He also noticed that Lord Aveling was welcoming him effusively.
“Delighted you were able to get away, Sir James,” said Aveling. “You’re staying till Monday, of course?”
“Unless I’m called back,” replied the Liberal member, his large rich voice filling the hall. He gazed about him as he spoke, leisurely and unflurriedly. He had all the solid assurance of a well-groomed, well-fed man. “Land question, you know.”
“It’s the eternal question,” smiled Aveling. “I expect we’ll talk about it. State or private ownership. Communism or—common sense, eh? No middle course these days.”
The Liberal member looked at his host sharply. He, too, was doubting the wisdom of the middle course. Moderation was in a disconcerting minority at the moment. But it was not this reflection that had arrested him. It was “Communism or Common Sense.” He revolved the words in his mind. A slogan there, somewhere. Communism or Common Sense. Communism or Common Sensism. House of Commonism....
The Honourable Anne appeared on the stairs. Slogans vanished as he strode forward to meet her. Meanwhile Lord Aveling’s polished voice droned on:
“Ah, Miss Wilding! How are you? I hope the journey was not tiring?” He took the actress’s hand and held it for an instant. “We have something to chat about, have we not? Ah, Bultin—how is the world treating you? Or perhaps we should say, how are you treating the world? Have you brought your large note-book? Be careful of this man, Miss Wilding! He can make or ruin one in a single paragraph. We all try to keep on the right side of Mr. Bultin.”
Bultin smiled faintly. He knew that, behind his polished badinage, Lord Aveling was just a little anxious about him. This week-end was a sort of bribe. The tobacco and beads for the naughty Indian with the scalping-knife.
Then Lord Aveling turned to the last of his guests to enter through the front door. Sir James turned also with a sudden sense of responsibility. He was still leisurely and unflurried, but a little of the rich warmth left his tone as he said:
“How well we have arranged this! I arrive just in time to perform the introductions. Mr. and Mrs. Chater, Lord Aveling.”
John Foss had said he was not superstitious, but he had been watching the front door from his couch, and counting. Zena Wilding, ten. Lionel Bultin, eleven. Who would enter first of the last couple?… The man—no, he had paused on the threshold. The woman preceded him. Mrs. Chater, twelve. Mr. Chater, thirteen....
The new guests dissolved to their respective rooms. Dinner was at eight, and bags had to be unpacked and clothes changed. Lionel Bultin followed a servant up the soft stair-carpet to a room on the second floor. The artist, Leicester Pratt, wagged a hand from an easy-chair as he entered.
“Hallo, Lionel,” said Pratt. “We’re to be stable lads together. I hope you don’t mind? There’s no way out, if you do. It was my idea.”
Bultin did not mind. His invitation to Bragley Court had also been Pratt’s idea. It was Leicester Pratt who had lent Bultin fifty pounds ten years ago, at the critical moment of the journalist’s career. Pratt was then an unknown artist, doing infinitely better work than he was doing to-day. Pratt had discovered Bultin, and in return Bultin had discovered Pratt. No two men had helped each other more, or understood each other better.
“Well?” queried Bultin, after five minutes of silence.
Pratt laughed.
“You know, I’m quite a little child at heart, Lionel,” he answered. “I love to call you Lionel, and even more I love to make you say, ‘Well?’ I believe I’m the only person who can do it outside the King and Mussolini. Lionel Bultin, purveyor of world news, world gossip, world washing, authority on Eden’s size in collars and Greta Garbo’s lip-stick, asking me for information! Admit it’s a score!”
“I don’t ask even little children twice,” observed Bultin, removing one of Pratt’s coats from a hook so that he could use the hook for one of his own.
“You’d ask this child twice, if it were necessary,” retorted Pratt. “You see, I have the advantage of not being a sentimentalist. You’ve grown so fond of life that you will woo it with any weapon. I dislike life so much that I’m without fear. Once life begins bargaining for my heart, I’ve done with the jade! Yes, and here’s an interesting thing,” he added. “You couldn’t commit suicide if you tried. If ever I decide to, I won’t hesitate. Posthumous opinion can find me out, if it’s amused—I shan’t be here.”
“The little child is objectionably precocious,” commented Bultin, quite unmoved. He rather enjoyed being thought a sentimentalist. “Get on with it.”
“I understood you never asked twice!” jeered Pratt. “‘Get on with it,’ is your second ‘Well?’ camouflaged. All right. Here goes. News from the advance guard, for Bultin’s column, ‘How the Wind Blows,’ preferred by ninety-nine per cent. of the population to Hamlet, the Bible, and Omar Khayyám. Paragraph One. ‘Miss Zena Wilding, age thirty-two by the kindness of her friends, forty-two by the unkindness of her enemies, and thirty-eight by the justice of God—’”
“Thirty-seven,” interposed Bultin.
“‘—is an interesting visitor at Bragley Court this week-end. She has long awaited the really big theatrical chance she so thoroughly does not deserve. My little leopard informs me that, if she is very good, but perhaps not too good, she may receive the promise of the necessary backing by Monday next.’”
“I already knew that,” said Bultin.
“Your comment was inevitable,” replied Pratt.
“She first met the backing on the Riviera,” said Bultin, “where she went to recuperate after a serious illness. Cause and nature of illness not known.”
“And possibly not for publication when known,” added Pratt. “Paragraph Two. ‘The celebrated artist, Leicester Pratt, who has the world of portraiture temporarily at his feet, who calls a scarcely less celebrated journalist by his Christian name, and whose bow ties become increasingly flowing, has been at Bragley Court for several days, and is now completing a portrait designed for next year’s Royal Academy of Lord Aveling’s only daughter, the Honourable Anne Aveling.’ Kindly turn that paragraph into a column.”
“Does this window look out on the back?” said Bultin.
“It looks out on the studio,” answered Pratt, “where the aforementioned masterpiece is in process. Paragraph Three. I think you’ll like this one better. ‘It is interesting to find Sir James Earnshaw among the guests at Bragley Court. It is well known that he does not hunt stags for the pleasure of it. Is he hunting anything else? My little leopard informs me that, if Sir James is to survive politically, he must turn Labour or Conservative, and he would be given the hand of the Honourable Anne Aveling if he decided to survive as a Conservative. This would not outrage Sir James’s private political convictions, because he hasn’t any, and then Lord Aveling might himself survive as a Marquis instead of a mere Baron, in virtue of the additional vote he brought to the Conservative Party.’”
Bultin condescended to turn away from a wardrobe he had been examining, and fix Pratt with a rather fish-like eye.
“Really?” he said.
“Really,” nodded Pratt. “Thank you for your passionate interest. I charge 3/10 for that one. But you can have the next paragraph for nothing. ‘Miss Edyth Fermoy-Jones is studying Nobility at first-hand. This is a pity, because we shall now lose those delicate flights of fancy that have illuminated so many of her previous volumes on High Life, and which once caused a Countess to bathe regularly in expensive hock. My little leopard tells me that her next novel will open with an accident to a young man at a railway station. A very beautiful widow will convey the young man to an ancestral home, will fall in love with him, and will discover that he is really a necklace thief. When a celebrated artist is murdered for painting a mole on the neck of a débutante, the young man will be arrested for the crime, and only the beautiful widow will know that his heart was too pure to devise anything worse than stealing necklaces.’”
“Will it come out that the real murderer of the artist was a famous journalist?” inquired Bultin.
Leicester Pratt laughed, and ran on:
“But the next paragraph is worth another 3/10. I might even work you up to four bob. ‘If Lord Aveling, already secretly harassed for funds, becomes a Marquis, how will he meet enhanced expenses? Perhaps—my little leopard tells me—Mr. and Mrs. Arthur Rowe, who have made a fortune from pork and who are anxious to emerge from the sausage-skin that has encased them so long, could supply the answer. They and their charming daughter, Ruth, have been staying for some days at Bragley Court, and if Ruth were launched into Society with a Capital S, it is possible that Lord Aveling would be able to support a marquisate. And, incidentally, to justify the expense of backing a show, while waiting.’”
Bultin refused to register any gratitude.
“Who is the attractive widow?” he asked.
“Nadine Leveridge,” sighed Pratt, in mock disappointment. “Well, if I can’t interest you above-stairs, let me try below-stairs. Leopards also prowl in basements. Do not be surprised if you are given bamboo-shoots for dinner to-night. We have a Chinese cook. No good? I’ll try again. We have something in the domestic line more attractive than a Chinese cook—a very pretty maid. Name, Bessie. Delightful figure. Make a good model. But when this was suggested to her, she was filled with charming confusion.” He rose and stretched himself. “I shall waste no more time over you, Lionel. You’re not worth it. I shall take a stroll before dressing.”
“Do,” said Bultin. “Since you can’t tell me anything about the most interesting people here.”
“Who?”
“Mr. and Mrs. Chater.”
“Ah, the Chaters,” answered Pratt. “Yes, there I’m beaten. The little leopard knows nothing about the Chaters.”
“Nor does Lord Aveling,” replied Bultin. “But James Earnshaw does. And, unless I am reaching my dotage, the Chaters know something about James Earnshaw. Which is my bed?”
“That one over there.”
“Good. I’ll have the other one.”
Pratt laughed and left the room. Outside he paused. Harold Taverley, the one man he had not mentioned, was entering his room opposite, and threw him a smile.
“Why does that man always make me see red?” wondered Pratt.
He went downstairs thoughtfully.
Chapter VII. Whitewash and Paint
A narrow passage led from the back of the lounge-hall into the grounds, and as Leicester Pratt passed out into a sheltered lawn, its dark surface streaked with slits of light from upper windows—one window being that of his bedroom—he noticed a thin coil of smoke spiralling upwards. Then Nadine Leveridge gleamed at him out of a shadow.
She was a creature of dazzling white, softened by the deep green of her dress. Her shoulders were perfectly formed and perfectly revealed. One was tempted to envy the narrow green strips curving with such apparent insecurity over them. A double rope of pearls made a loop in front of the simple green bodice. A silk wrap, also of green, but deeper and more brilliant in hue, partially covered one shoulder.
“Nadine Leveridge is Life’s relentless weapon,” thought Pratt. “A woman for fools to fear.”
Pratt did not fear her. He could even stand and regard her, deliberately studying her subtle challenges with the impertinent privilege of an artist.
“You’ve dressed early,” he said. She nodded. “Not afraid of the cold?”
“Not a bit.”
He felt for his cigarette-case, and found he had left it in his room.
“I’m sorry I can’t oblige,” remarked Nadine. “Mr. Taverley gave me this.”
She held up her cigarette. Pratt noticed that it was a State Express 555.
“Don’t move for a moment,” he said. She stood motionless, her eyebrows raised a little. Only the cigarette smoke continued its movement. “The lady with the cigarette. The lady in green. Modern Eve. Woman. Anything you damn like. When do I paint her?”
“She’d have to pawn her pearls to pay your price,” smiled Nadine, puffing the cigarette again.
“That’s terribly material.”
“Goes against the grain?”
Now Pratt smiled.
“You must hate meeting pieces of wood like Bultin and me,” he observed.
“Nonsense—nobody’s wood!” retorted Nadine. “Some people build wooden walls around themselves, that’s all. Bultin does, certainly.”
“Yes, I agree. He’s chained himself inside in case he should get out and collapse. But—me?”
“Something could move you.”
“What?”
“I’ve no idea. But I couldn’t. That’s why I don’t think I’ll pawn my pearls, thank you. Any one who paints me must be an out-and-out idealist.”
“An idealist is merely another sort of man who builds a wall round his passions.”
“And whose passions are the most ardent when the wall goes?” replied Nadine. “Yes, I know all about that! But he begins with a kind heart, and I only allow artists with kind hearts to paint me. I’ve seen your Twentieth-Century Madonna!”
“I should never have thought you feared the truth, Nadine,” reproved Pratt.
“I don’t. But no artist can paint the whole truth. He just paints his half—and the other half can’t answer back from the canvas. The half I fear is your half—all by its little lonesome!”
“Touché,” murmured Pratt, “although I am not admitting there is any other half.”
“Didn’t you paint the other half when you were twenty? I remember a picture called ‘Song of Youth.’”
“My God, spare me!” he winced. “Must that ghastly song follow me to the grave? And anyway,” he added, “how on earth do you remember that ancient atrocity? From your appearance, your memory shouldn’t take you back so far.”
“I’m in shadow.”
“Kindly step out of it.”
She hesitated, then did so.
“I repeat my astonishment,” said Pratt, staring at her. “You look twenty yourself! And now, I suppose, you will charge me with gallantry? No, I couldn’t stand that! Not immediately after the resuscitation of my ‘Song of Youth!’ Excuse me, before I become utterly whitewashed!”
“I’ll excuse you,” answered Nadine, throwing her cigarette away, “but I don’t think I’m exactly the kind of person to whitewash anybody.”
“Thank God!” said Pratt devoutly.
He watched her pass back to the house, then stepped on to the dark lawn. It was thirty strides across. Beyond, a flagged path led between bushes to the studio.