‘You don’t mean that you have seen her again?’ Agnes eagerly interposed.
‘Yes. I disturbed her once more over her endless writing; and I insisted on her speaking out plainly.’
‘Then you told her what you found when you opened the hiding-place?’
‘Of course I did!’ Henry replied. ‘I said that I held her responsible for the discovery, though I had not mentioned her connection with it to the authorities as yet. She went on with her writing as if I had spoken in an unknown tongue! I was equally obstinate, on my side. I told her plainly that the head had been placed under the care of the police, and that the manager and I had signed our declarations and given our evidence. She paid not the slightest heed to me. By way of tempting her to speak, I added that the whole investigation was to be kept a secret, and that she might depend on my discretion. For the moment I thought I had succeeded. She looked up from her writing with a passing flash of curiosity, and said, “What are they going to do with it?” –meaning, I suppose, the head. I answered that it was to be privately buried, after photographs of it had first been taken. I even went the length of communicating the opinion of the surgeon consulted, that some chemical means of arresting decomposition had been used and had only partially succeeded – and I asked her point-blank if the surgeon was right? The trap was not a bad one – but it completely failed. She said in the coolest manner, “Now you are here, I should like to consult you about my play; I am at a loss for some new incidents.” Mind! there was nothing satirical in this. She was really eager to read her wonderful work to me – evidently supposing that I took a special interest in such things, because my brother is the manager of a theatre! I left her, making the first excuse that occurred to me. So far as I am concerned, I can do nothing with her. But it is possible that your influence may succeed with her again, as it has succeeded already. Will you make the attempt, to satisfy your own mind? She is still upstairs; and I am quite ready to accompany you.’
Agnes shuddered at the bare suggestion of another interview with the Countess.
‘I can’t! I daren’t!’ she exclaimed. ‘After what has happened in that horrible room, she is more repellent to me than ever. Don’t ask me to do it, Henry! Feel my hand – you have turned me as cold as death only with talking of it!’
She was not exaggerating the terror that possessed her. Henry hastened to change the subject.
‘Let us talk of something more interesting,’ he said. ‘I have a question to ask you about yourself. Am I right in believing that the sooner you get away from Venice the happier you will be?’
‘Right?’ she repeated excitedly. ‘You are more than right! No words can say how I long to be away from this horrible place. But you know how I am situated – you heard what Lord Montbarry said at dinner-time?’
‘Suppose he has altered his plans, since dinner-time?’ Henry suggested.
Agnes looked surprised. ‘I thought he had received letters from England which obliged him to leave Venice tomorrow,’ she said.
‘Quite true,’ Henry admitted. ‘He had arranged to start for England to-morrow, and to leave you and Lady Montbarry and the children to enjoy your holiday in Venice, under my care. Circumstances have occurred, however, which have forced him to alter his plans. He must take you all back with him to-morrow because I am not able to assume the charge of you. I am obliged to give up my holiday in Italy, and return to England too.’
Agnes looked at him in some little perplexity: she was not quite sure whether she understood him or not.
‘Are you really obliged to go back?’ she asked.
Henry smiled as he answered her. ‘Keep the secret,’ he said, ‘or Montbarry will never forgive me!’
She read the rest in his face. ‘Oh!’ she exclaimed, blushing brightly, ‘you have not given up your pleasant holiday in Italy on my account?’
‘I shall go back with you to England, Agnes. That will be holiday enough for me.’
She took his hand in an irrepressible outburst of gratitude. ‘How good you are to me!’ she murmured tenderly. ‘What should I have done in the troubles that have come to me, without your sympathy? I can’t tell you, Henry, how I feel your kindness.’
She tried impulsively to lift his hand to her lips. He gently stopped her. ‘Agnes,’ he said, ‘are you beginning to understand how truly I love you?’
That simple question found its own way to her heart. She owned the whole truth, without saying a word. She looked at him – and then looked away again.
He drew her nearer to him. ‘My own darling!’ he whispered – and kissed her. Softly and tremulously, the sweet lips lingered, and touched his lips in return. Then her head drooped. She put her arms round his neck, and hid her face on his bosom. They spoke no more.
The charmed silence had lasted but a little while, when it was mercilessly broken by a knock at the door.
Agnes started to her feet. She placed herself at the piano; the instrument being opposite to the door, it was impossible, when she seated herself on the music-stool, for any person entering the room to see her face. Henry called out irritably, ‘Come in.’
The door was not opened. The person on the other side of it asked a strange question.
‘Is Mr Henry Westwick alone?’
Agnes instantly recognised the voice of the Countess. She hurried to a second door, which communicated with one of the bedrooms. ‘Don’t let her come near me!’ she whispered nervously. ‘Good night, Henry! good night!’
If Henry could, by an effort of will, have transported the Countess to the uttermost ends of the earth, he would have made the effort without remorse. As it was, he only repeated, more irritably than ever, ‘Come in!’
She entered the room slowly with her everlasting manuscript in her hand. Her step was unsteady; a dark flush appeared on her face, in place of its customary pallor; her eyes were bloodshot and widely dilated. In approaching Henry, she showed a strange incapability of calculating her distances – she struck against the table near which he happened to be sitting. When she spoke, her articulation was confused, and her pronunciation of some of the longer words was hardly intelligible. Most men would have suspected her of being under the influence of some intoxicating liquor. Henry took a truer view – he said, as he placed a chair for her, ‘Countess, I am afraid you have been working too hard: you look as if you wanted rest.’
She put her hand to her head. ‘My invention has gone,’ she said. ‘I can’t write my fourth act. It’s all a blank – all a blank!’
Henry advised her to wait till the next day. ‘Go to bed,’ he suggested; ‘and try to sleep.’
She waved her hand impatiently. ‘I must finish the play,’ she answered. ‘I only want a hint from you. You must know something about plays. Your brother has got a theatre. You must often have heard him talk about fourth and fifth acts – you must have seen rehearsals, and all the rest of it.’ She abruptly thrust the manuscript into Henry’s hand. ‘I can’t read it to you,’ she said; ‘I feel giddy when I look at my own writing. Just run your eye over it, there’s a good fellow – and give me a hint.’
Henry glanced at the manuscript. He happened to look at the list of the persons of the drama. As he read the list he started and turned abruptly to the Countess, intending to ask her for some explanation. The words were suspended on his lips. It was but too plainly useless to speak to her. Her head lay back on the rail of the chair. She seemed to be half asleep already. The flush on her face had deepened: she looked like a woman who was in danger of having a fit.
He rang the bell, and directed the man who answered it to send one of the chambermaids upstairs. His voice seemed to partially rouse the Countess; she opened her eyes in a slow drowsy way. ‘Have you read it?’ she asked.
It was necessary as a mere act of humanity to humour her. ‘I will read it willingly,’ said Henry, ‘if you will go upstairs to bed. You shall hear what I think of it to-morrow morning. Our heads will be clearer, we shall be better able to make the fourth act in the mor
ning.’
The chambermaid came in while he was speaking. ‘I am afraid the lady is ill,’ Henry whispered. ‘Take her up to her room.’ The woman looked at the Countess and whispered back, ‘Shall we send for a doctor, sir?’
Henry advised taking her upstairs first, and then asking the manager’s opinion. There was great difficulty in persuading her to rise, and accept the support of the chambermaid’s arm. It was only by reiterated promises to read the play that night, and to make the fourth act in the morning, that Henry prevailed on the Countess to return to her room.
Left to himself, he began to feel a certain languid curiosity in relation to the manuscript. He looked over the pages, reading a line here and a line there. Suddenly he changed colour as he read – and looked up from the manuscript like a man bewildered. ‘Good God! what does this mean?’ he said to himself.
His eyes turned nervously to the door by which Agnes had left him. She might return to the drawing-room, she might want to see what the Countess had written. He looked back again at the passage which had startled him – considered with himself for a moment – and, snatching up the unfinished play, suddenly and softly left the room.
XXVI
Entering his own room on the upper floor, Henry placed the manuscript on his table, open at the first leaf. His nerves were unquestionably shaken; his hand trembled as he turned the pages, he started at chance noises on the staircase of the hotel.
The scenario, or outline, of the Countess’s play began with no formal prefatory phrases. She presented herself and her work with the easy familiarity of an old friend.
‘Allow me, dear Mr Francis Westwick, to introduce to you the persons in my proposed Play. Behold them, arranged symmetrically in a line.
‘My Lord. The Baron. The Courier. The Doctor. The Countess.
‘I don’t trouble myself, you see, to invent fictitious family names. My characters are sufficiently distinguished by their social titles, and by the striking contrast which they present one with another.
‘The First Act opens—
‘No! Before I open the First Act, I must announce, in justice to myself, that this Play is entirely the work of my own invention. I scorn to borrow from actual events; and, what is more extraordinary still, I have not stolen one ofmy ideas from the Modern French drama. As the manager of an English theatre, you will naturally refuse to believe this. It doesn’t matter. Nothing matters – except the opening of my first act.
‘We are at Homburg, in the famous Salon d’Or, at the height of the season. The Countess (exquisitely dressed) is seated at the green table. Strangers of all nations are standing behind the players, venturing their money or only looking on. My Lord is among the strangers. He is struck by the Countess’s personal appearance, in which beauties and defects are fantastically mingled in the most attractive manner. He watches the Countess’s game, and places his money where he sees her deposit her own little stake. She looks round at him, and says, “Don’t trust to my colour; I have been unlucky the whole evening. Place your stake on the other colour, and you may have a chance of winning.” My Lord (a true Englishman) blushes, bows, and obeys. The Countess proves to be a prophet. She loses again. My Lord wins twice the sum that he has risked.
‘The Countess rises from the table. She has no more money, and she offers my Lord her chair.
‘Instead of taking it, he politely places his winnings in her hand, and begs her to accept the loan as a favour to himself. The Countess stakes again, and loses again. My Lord smiles superbly, and presses a second loan on her. From that moment her luck turns. She wins, and wins largely. Her brother, the Baron, trying his fortune in another room, hears of what is going on, and joins my Lord and the Countess.
‘Pay attention, if you please, to the Baron. He is delineated as a remarkable and interesting character.
‘This noble person has begun life with a single-mindeddevotion to the science of experimental chemistry, very surprising in a young and handsome man with a brilliant future before him. A profound knowledge of the occult sciences has persuaded the Baron that it is possible to solve the famous problem called the “Philosopher’s Stone.” His own pecuniary resources have long since been exhausted by his costly experiments. His sister has next supplied him with the small fortune at her disposal: reserving only the family jewels, placed in the charge of her banker and friend at Frankfort. The Countess’s fortune also being swallowed up, the Baron has in a fatal moment sought for new supplies at the gaming table. He proves, at starting on his perilous career, to be a favourite of fortune; wins largely, and, alas! profanes his noble enthusiasm for science by yielding his soul to the all-debasing passion of the gamester.
‘At the period of the Play, the Baron’s good fortune has deserted him. He sees his way to a crowning experiment in the fatal search after the secret of transmuting the baser elements into gold. But how is he to pay the preliminary expenses? Destiny, like a mocking echo, answers, How?
‘Will his sister’s winnings (with my Lord’s money) prove large enough to help him? Eager for this result, he gives the Countess his advice how to play. From that disastrous moment the infection of his own adverse fortune spreads to his sister. She loses again, and again – loses to the last farthing.
‘The amiable and wealthy Lord offers a third loan; but the scrupulous Countess positively refuses to take it. On leaving the table, she presents her brother to my Lord. The gentlemen fall into pleasant talk. My Lord asks leave to pay his respects to the Countess, the next morning, at her hotel. The Baron hospitably invites him to breakfast. My Lord accepts, with a last admiring glance at the Countess which does not escape her brother’s observation, and takes his leave for the night.
‘Alone with his sister, the Baron speaks out plainly. “Our affairs,” he says, “are in a desperate condition, and must find a desperate remedy. Wait for me here, while I make inquiries about my Lord. You have evidently produced a strong impression on him. If we can turn that impression into money, no matter at what sacrifice, the thing must be done.”
‘The Countess now occupies the stage alone, and indulges in a soliloquy which develops her character.
‘It is at once a dangerous and attractive character. Immense capacities for good are implanted in her nature, side by side with equally remarkable capacities for evil. It rests with circumstances to develop either the one or the other. Being a person who produces a sensation wherever she goes, this noble lady is naturally made the subject of all sorts of scandalous reports. To one of these reports (which falsely and abominably points to the Baron as her lover instead of her brother) she now refers with just indignation. She has just expressed her desire to leave Homburg, as the place in which the vile calumny first took its rise, when the Baron returns, overhears her last words, and says to her, “Yes, leave Homburg by all means; provided you leave it in the character of my Lord’s betrothed wife!”
‘The Countess is startled and shocked. She protests that she does not reciprocate my Lord’s admiration for her. She even goes the length of refusing to see him again. The Baron answers, “I must positively have command of money. Take your choice, between marrying my Lord’s income, in the interest of my grand discovery – or leave me to sell myself and my title to the first rich woman of low degree who is ready to buy me.”
‘The Countess listens in surprise and dismay. Is it possible that the Baron is in earnest? He is horribly in earnest. “The woman who will buy me,” he says, “is in the next room to us at this moment. She is the wealthy widow of a Jewish usurer. She has the money I want to reach the solution of the great problem. I have only to be that woman’s husband, and to make myself master of untold millions of gold. Take five minutes to consider what I have said to you, and tell me on my return which of us is to marry for the money I want, you or I.”
‘As he turns away, the Countess stops him.
‘All the noblest sentiments in her nature are exalted to the highest pitch. “Where is the true woman,” she exclaims, “who wants time to consum
mate the sacrifice of herself, when the man to whom she is devoted demands it? She does not want five minutes – she does not want five seconds – she holds out her hand to him, and she says, Sacrifice me on the altar of your glory! Take as stepping-stones on the way to your triumph, my love, my liberty, and my life!”
‘On this grand situation the curtain falls. Judging by my first act, Mr Westwick, tell me truly, and don’t be afraid of turning my head:— Am I not capable of writing a good play?’
Henry paused between the First and Second Acts; reflecting, not on the merits of the play, but on the strange resemblance which the incidents so far presented to the incidents that had attended the disastrous marriage of the first Lord Montbarry.
Was it possible that the Countess, in the present condition of her mind, supposed herself to be exercising her invention when she was only exercising her memory?
The question involved considerations too serious to be made the subject of a hasty decision. Reserving his opinion, Henry turned the page, and devoted himself to the reading of the next act. The manuscript proceeded as follows:—
‘The Second Act opens at Venice. An interval of four months has elapsed since the date of the scene at the gambling table. The action now takes place in the reception-room of one of the Venetian palaces.
‘The Baron is discovered, alone, on the stage. He reverts to the events which have happened since the close of the First Act. The Countess has sacrificed herself; the mercenary marriage has taken place – but not without obstacles, caused by difference of opinion on the question of marriage settlements.
‘Private inquiries, instituted in England, have informed the Baron that my Lord’s income is derived chiefly from what is called entailed property. In case of accidents, he is surely bound to do something for his bride? Let him, for example, insure his life, for a sum proposed by the Baron, and let him so settle the money that his widow shall have it, if he dies first.
The Haunted Hotel Page 17
