Read Ebook: After Dark by Collins Wilkie

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Ebook has 832 lines and 129358 words, and 17 pages

Good God! the man had pulled his hat down on his brows! No! the hat itself was gone! Where was the conical crown? Where the feathers--three white, two green? Not there! In place of the hat and feathers, what dusky object was it that now hid his forehead, his eyes, his shading hand?

Was the bed moving?

I turned on my back and looked up. Was I mad? drunk? dreaming? giddy again? or was the top of the bed really moving down--sinking slowly, regularly, silently, horribly, right down throughout the whole of its length and breadth--right down upon me, as I lay underneath?

My blood seemed to stand still. A deadly paralysing coldness stole all over me as I turned my head round on the pillow and determined to test whether the bed-top was really moving or not, by keeping my eye on the man in the picture.

The next look in that direction was enough. The dull, black, frowzy outline of the valance above me was within an inch of being parallel with his waist. I still looked breathlessly. And steadily and slowly--very slowly--I saw the figure, and the line of frame below the figure, vanish, as the valance moved down before it.

I am, constitutionally, anything but timid. I have been on more than one occasion in peril of my life, and have not lost my self-possession for an instant; but when the conviction first settled on my mind that the bed-top was really moving, was steadily and continuously sinking down upon me, I looked up shuddering, helpless, panic-stricken, beneath the hideous machinery for murder, which was advancing closer and closer to suffocate me where I lay.

I looked up, motionless, speechless, breathless. The candle, fully spent, went out; but the moonlight still brightened the room. Down and down, without pausing and without sounding, came the bed-top, and still my panic-terror seemed to bind me faster and faster to the mattress on which I lay--down and down it sank, till the dusty odor from the lining of the canopy came stealing into my nostrils.

At that final moment the instinct of self-preservation startled me out of my trance, and I moved at last. There was just room for me to roll myself sidewise off the bed. As I dropped noiselessly to the floor, the edge of the murderous canopy touched me on the shoulder.

Without stopping to draw my breath, without wiping the cold sweat from my face, I rose instantly on my knees to watch the bed-top. I was literally spellbound by it. If I had heard footsteps behind me, I could not have turned round; if a means of escape had been miraculously provided for me, I could not have moved to take advantage of it. The whole life in me was, at that moment, concentrated in my eyes.

It descended--the whole canopy, with the fringe round it, came down--down--close down; so close that there was not room now to squeeze my finger between the bed-top and the bed. I felt at the sides, and discovered that what had appeared to me from beneath to be the ordinary light canopy of a four-post bed was in reality a thick, broad mattress, the substance of which was concealed by the valance and its fringe. I looked up and saw the four posts rising hideously bare. In the middle of the bed-top was a huge wooden screw that had evidently worked it down through a hole in the ceiling, just as ordinary presses are worked down on the substance selected for compression. The frightful apparatus moved without making the faintest noise. There had been no creaking as it came down; there was now not the faintest sound from the room above. Amid a dead and awful silence I beheld before me--in the nineteenth century, and in the civilized capital of France--such a machine for secret murder by suffocation as might have existed in the worst days of the Inquisition, in the lonely inns among the Hartz Mountains, in the mysterious tribunals of Westphalia! Still, as I looked on it, I could not move, I could hardly breathe, but I began to recover the power of thinking, and in a moment I discovered the murderous conspiracy framed against me in all its horror.

My cup of coffee had been drugged, and drugged too strongly. I had been saved from being smothered by having taken an overdose of some narcotic. How I had chafed and fretted at the fever fit which had preserved my life by keeping me awake! How recklessly I had confided myself to the two wretches who had led me into this room, determined, for the sake of my winnings, to kill me in my sleep by the surest and most horrible contrivance for secretly accomplishing my destruction! How many men, winners like me, had slept, as I had proposed to sleep, in that bed, and had never been seen or heard of more! I shuddered at the bare idea of it.

But, ere long, all thought was again suspended by the sight of the murderous canopy moving once more. After it had remained on the bed--as nearly as I could guess--about ten minutes, it began to move up again. The villains who worked it from above evidently believed that their purpose was now accomplished. Slowly and silently, as it had descended, that horrible bed-top rose towards its former place. When it reached the upper extremities of the four posts, it reached the ceiling, too. Neither hole nor screw could be seen; the bed became in appearance an ordinary bed again--the canopy an ordinary canopy--even to the most suspicious eyes.

Now, for the first time, I was able to move--to rise from my knees--to dress myself in my upper clothing--and to consider of how I should escape. If I betrayed by the smallest noise that the attempt to suffocate me had failed, I was certain to be murdered. Had I made any noise already? I listened intently, looking towards the door.

No! no footsteps in the passage outside--no sound of a tread, light or heavy, in the room above--absolute silence everywhere. Besides locking and bolting my door, I had moved an old wooden chest against it, which I had found under the bed. To remove this chest without making some disturbance was impossible; and, moreover, to think of escaping through the house, now barred up for the night, was sheer insanity. Only one chance was left me--the window. I stole to it on tiptoe.

Just as I had made it tight and fixed it in a comfortable place, I thought I heard a sound of breathing outside the door. The chill feeling of horror ran through me again as I listened. No! dead silence still in the passage--I had only heard the night air blowing softly into the room. The next moment I was on the window-sill--and the next I had a firm grip on the water-pipe with my hands and knees.

I slid down into the street easily and quietly, as I thought I should, and immediately set off at the top of my speed to a branch "Prefecture" of Police, which I knew was situated in the immediate neighborhood. A "Sub-prefect," and several picked men among his subordinates, happened to be up, maturing, I believe, some scheme for discovering the perpetrator of a mysterious murder which all Paris was talking of just then. When I began my story, in a breathless hurry and in very bad French, I could see that the Sub-prefect suspected me of being a drunken Englishman who had robbed somebody; but he soon altered his opinion as I went on, and before I had anything like concluded, he shoved all the papers before him into a drawer, put on his hat, supplied me with another , ordered a file of soldiers, desired his expert followers to get ready all sorts of tools for breaking open doors and ripping up brick flooring, and took my arm, in the most friendly and familiar manner possible, to lead me with him out of the house. I will venture to say that when the Sub-prefect was a little boy, and was taken for the first time to the play, he was not half as much pleased as he was now at the job in prospect for him at the gambling-house!

"We want to see the Englishman who is sleeping in this house?"

"He went away hours ago."

"I swear to you, Monsieur le Sous-prefect, he is not here! he--"

"I swear to you, Monsieur le Garcon, he is. He slept here--he didn't find your bed comfortable--he came to us to complain of it--here he is among my men--and here am I ready to look for a flea or two in his bedstead. Renaudin! collar that man and tie his hands behind him. Now, then, gentlemen, let us walk upstairs!"

Every man and woman in the house was secured--the "Old Soldier" the first. Then I identified the bed in which I had slept, and then we went into the room above.

No object that was at all extraordinary appeared in any part of it. The Sub-prefect looked round the place, commanded everybody to be silent, stamped twice on the floor, called for a candle, looked attentively at the spot he had stamped on, and ordered the flooring there to be carefully taken up. This was done in no time. Lights were produced, and we saw a deep raftered cavity between the floor of this room and the ceiling of the room beneath. Through this cavity there ran perpendicularly a sort of case of iron thickly greased; and inside the case appeared the screw, which communicated with the bed-top below. Extra lengths of screw, freshly oiled; levers covered with felt; all the complete upper works of a heavy press--constructed with infernal ingenuity so as to join the fixtures below, and when taken to pieces again, to go into the smallest possible compass--were next discovered and pulled out on the floor. After some little difficulty the Sub-prefect succeeded in putting the machinery together, and, leaving his men to work it, descended with me to the bedroom. The smothering canopy was then lowered, but not so noiselessly as I had seen it lowered. When I mentioned this to the Sub-prefect, his answer, simple as it was, had a terrible significance. "My men," said he, "are working down the bed-top for the first time--the men whose money you won were in better practice."

Just as Mr. Faulkner pronounced these words he started in his chair, and resumed his stiff, dignified position in a great hurry. "Bless my soul!" cried he, with a comic look of astonishment and vexation, "while I have been telling you what is the real secret of my interest in the sketch you have so kindly given to me, I have altogether forgotten that I came here to sit for my portrait. For the last hour or more I must have been the worst model you ever had to draw from!"

NOTE BY MRS. KERBY.

I cannot let this story end without mentioning what the chance saying was which caused it to be told at the farmhouse the other night. Our friend the young sailor, among his other quaint objections to sleeping on shore, declared that he particularly hated four-post beds, because he never slept in one without doubting whether the top might not come down in the night and suffocate him. I thought this chance reference to the distinguishing feature of William's narrative curious enough, and my husband agreed with me. But he says it is scarcely worth while to mention such a trifle in anything so important as a book. I cannot venture, after this, to do more than slip these lines in modestly at the end of the story. If the printer should notice my few last words, perhaps he may not mind the trouble of putting them into some out-of-the-way corner.

L. K.

TO THE SECOND STORY.

The beginning of an excellent connection which I succeeded in establishing in and around that respectable watering-place, Tidbury-on-the-Marsh, was an order for a life-size oil portrait of a great local celebrity--one Mr. Boxsious, a solicitor, who was understood to do the most thriving business of any lawyer in the town.

The portrait was intended as a testimonial "expressive of the eminent services of Mr. Boxsious in promoting and securing the prosperity of the town." It had been subscribed for by the "Municipal Authorities and Resident Inhabitants" of Tidbury-on-the-Marsh; and it was to be presented, when done, to Mrs. Boxsious, "as a slight but sincere token"--and so forth. A timely recommendation from one of my kindest friends and patrons placed the commission for painting the likeness in my lucky hands; and I was instructed to attend on a certain day at Mr. Boxsious's private residence, with all my materials ready for taking a first sitting.

On arriving at the house, I was shown into a very prettily furnished morning-room. The bow-window looked out on a large inclosed meadow, which represented the principal square in Tidbury. On the opposite side of the meadow I could see the new hotel , and close by, the old hotel obstinately unchanged since it had first been built. Then, further down the street, the doctor's house, with a colored lamp and a small door-plate, and the banker's office, with a plain lamp and a big door-plate--then some dreary private lodging-houses--then, at right angles to these, a street of shops; the cheese-monger's very small, the chemist's very smart, the pastry-cook's very dowdy, and the green-grocer's very dark, I was still looking out at the view thus presented, when I was suddenly apostrophized by a glib, disputatious voice behind me.

"Now, then, Mr. Artist," cried the voice, "do you call that getting ready for work? Where are your paints and brushes, and all the rest of it? My name's Boxsious, and I'm here to sit for my picture."

I turned round, and confronted a little man with his legs astraddle, and his hands in his pockets. He had light-gray eyes, red all round the lids, bristling pepper-colored hair, an unnaturally rosy complexion, and an eager, impudent, clever look. I made two discoveries in one glance at him: First, that he was a wretched subject for a portrait; secondly, that, whatever he might do or say, it would not be of the least use for me to stand on my dignity with him.

"Ready directly?" repeated my new sitter. "What do you mean, Mr. Artist, by ready directly? I'm ready now. What was your contract with the Town Council, who have subscribed for this picture? To paint the portrait. And what was my contract? To sit for it. Here am I ready to sit, and there are you not ready to paint me. According to all the rules of law and logic, you are committing a breach of contract already. Stop! let's have a look at your paints. Are they the best quality? If not, I warn you, sir, there's a second breach of contract! Brushes, too? Why, they're old brushes, by the Lord Harry! The Town Council pays you well, Mr. Artist; why don't you work for them with new brushes? What? you work best with old? I contend, sir, that you can't. Does my housemaid clean best with an old broom? Do my clerks write best with old pens? Don't color up, and don't look as if you were going to quarrel with me! You can't quarrel with me. If you were fifty times as irritable a man as you look, you couldn't quarrel with me. I'm not young, and I'm not touchy--I'm Boxsious, the lawyer; the only man in the world who can't be insulted, try it how you like!"

He chuckled as he said this, and walked away to the window. It was quite useless to take anything he said seriously, so I finished preparing my palette for the morning's work with the utmost serenity of look and manner that I could possibly assume.

"There!" he went on, looking out of the window; "do you see that fat man slouching along the Parade, with a snuffy nose? That's my favorite enemy, Dunball. He tried to quarrel with me ten years ago, and he has done nothing but bring out the hidden benevolence of my character ever since. Look at him! look how he frowns as he turns this way. And now look at me! I can smile and nod to him. I make a point of always smiling and nodding to him--it keeps my hand in for other enemies. Good-morning! good-morning, Mr. Dunball. He bears malice, you see; he won't speak; he's short in the neck, passionate, and four times as fat as he ought to be; he has fought against my amiability for ten mortal years; when he can't fight any longer, he'll die suddenly, and I shall be the innocent cause of it."

Mr. Boxsious uttered this fatal prophecy with extraordinary complacency, nodding and smiling out of the window all the time at the unfortunate man who had rashly tried to provoke him. When his favorite enemy was out of sight, he turned away, and indulged himself in a brisk turn or two up and down the room. Meanwhile I lifted my canvas on the easel, and was on the point of asking him to sit down, when he assailed me again.

"Now, Mr. Artist," he cried, quickening his walk impatiently, "in the interests of the Town Council, your employers, allow me to ask you for the last time when you are going to begin?"

"And allow me, Mr. Boxsious, in the interest of the Town Council also," said I, "to ask you if your notion of the proper way of sitting for your portrait is to walk about the room!"

"Aha! well put--devilish well put!" returned Mr. Boxsious; "that's the only sensible thing you have said since you entered my house; I begin to like you already." With these words he nodded at me approvingly, and jumped into the high chair that I had placed for him with the alacrity of a young man.

"I say, Mr. Artist," he went on, when I had put him into the right position , "you don't have many such good jobs as this, do you?"

"Not many," I said. "I should not be a poor man if commissions for life-size portraits often fell in my way."

He began to shift about so irritably in his chair, that, in the interests of my work, I was obliged to make an effort to calm him.

"It must be a pleasant occupation for you in your present prosperity," said I, "to look back sometimes at the gradual processes by which you passed from poverty to competence, and from that to the wealth you now enjoy."

"Gradual, did you say?" cried Mr. Boxsious; "it wasn't gradual at all. I was sharp--damned sharp, and I jumped at my first start in business slap into five hundred pounds in one day."

"That was an extraordinary step in advance," I rejoined. "I suppose you contrived to make some profitable investment--"

"Not a bit of it! I hadn't a spare sixpence to invest with. I won the money by my brains, my hands, and my pluck; and, what's more, I'm proud of having done it. That was rather a curious case, Mr. Artist. Some men might be shy of mentioning it; I never was shy in my life and I mention it right and left everywhere--the whole case, just as it happened, except the names. Catch me ever committing myself to mentioning names! Mum's the word, sir, with yours to command, Thomas Boxsious."

"As you mention 'the case' everywhere," said I, "perhaps you would not be offended with me if I told you I should like to hear it?"

"Man alive! haven't I told you already that I can't be offended? And didn't I say a moment ago that I was proud of the case? I'll tell you, Mr. Artist--but stop! I've got the interests of the Town Council to look after in this business. Can you paint as well when I'm talking as when I'm not? Don't sneer, sir; you're not wanted to sneer--you're wanted to give an answer--yes or no?"

"Yes, then," I replied, in his own sharp way. "I can always paint the better when I am hearing an interesting story."

"What do you mean by talking about a story? I'm not going to tell you a story; I'm going to make a statement. A statement is a matter of fact, therefore the exact opposite of a story, which is a matter of fiction. What I am now going to tell you really happened to me."

I was glad to see that he settled himself quietly in his chair before he began. His odd manners and language made such an impression on me at the time, that I think I can repeat his "statement" now, almost word for word as he addressed it to me.

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