‘A nice turn of power in the middle notes, didn’t you think?’ said Gossage. ‘A fine sensibility of phrase?’
‘Hugh didn’t look too well,’ said Chandler. ‘I hope he’s all right. I hadn’t seen him for an age.’
They passed on. It was time to leave. I began to look about for Isobel. Before I found her, Stevens returned to the room. I took this opportunity of saying goodbye, as he seemed on his way somewhere. He confirmed, as it were, the words spoken a minute before by Chandler.
‘Hugh Moreland’s not very well. He’s gone to lie down in the study. I’m on my way to get the car. I can run them home.’
Stevens, many of his characteristics uncommendable, was good at taking charge when certain kinds of awkward situation arose.
‘Is Hugh bad?’
‘Doesn’t look too good. He had a blackout, and fell. He’s all right now, all right in the sense that he doesn’t want to leave, because he says there are a lot of things about the Seraglio he still wants to discuss. We’ve persuaded him to take it easy for the moment. He’ll be better when he gets to bed.’
‘Can one see him?’
‘Yes, do go up. Might keep him quiet. Don’t bring a crowd with you. The room’s the little study on the second floor, to the left.’
I found Isobel, and we both went upstairs. Moreland was lying on a small sofa, Rosie and Audrey Maclintick standing over him. The sofa was not big enough to contain his body comfortably at full length. He was drinking a glass of water, something I had never before seen him do, except after a heavy evening the night before. As Chandler had said, he did not look at all well. He was refusing to compromise with his own situation further than agreement to be driven home, when Stevens returned. Audrey Maclintick was trying to persuade him to rest quietly, until the car was announced as at the front door. When he saw us, he began to laugh in his old way.
‘I told you nostalgia would get me. It did. Absolutely spun me over like a ninepin. It was Carolo put the finishing touch. I can’t take it as I used. They say you lose your head for nostalgia, as you get older. That’s also the time when waves of it come sweeping down without warning. You have to ration yourself, or a sudden dose knocks you out, as it did me.’
‘You stop talking so much, and take it easy,’ said Audrey Maclintick. ‘I’m going to get that precious doctor of yours round as soon as you’re in bed, no matter what the time is, and how much he’s had to drink, if he hasn’t passed out cold. Even he told you to be careful, the last time he looked you over. You’re going to stay in bed for a week or two now, if I have anything to do with it.’
Moreland did not listen. In spite of Rosie’s added protest that he would be wiser to remain quiet, he continued to insist he would be perfectly recovered the following day. He also kept on returning to what had been happening that evening.
‘There were a lot of people near me talking about vintage cars. There’s nostalgia, if you like.
For some we loved, the loveliest and the best,
That from his vintage rolling Time hath pressed.
That’s a striking image. I remember, years ago, a man who kept on quoting Omar at that party of Mrs Foxe’s, after my Symphony. I’ve only just grasped that the verse refers to a car. Life’s vintage car, in which we’re all travelling. Better than Trapnel’s Camel, more Hegelian too. Then you’re suddenly told to get out and walk—pressed to, as the poet truly says.’
There was nothing to be done until Stevens returned. Staying with Moreland was only to encourage running on like this, tiring himself, so Isobel and I spoke a word or two, then said goodnight. It was not quite clear what sort of a fall he had suffered. He seemed to have lost his senses for a minute or so, afterwards felt no worse than a little dazed.
‘I was pretty normal when I got up from the floor. If one could ever truthfully say that about oneself.’
A large proportion of the guests had already left when we arrived downstairs again.
‘Poor Hugh,’ said Isobel. ‘He didn’t look at all well to me.’
‘Nor me.’
Outside, the night was dark. There was no moon. A breeze, fresh, almost country-scented, blew in from the Park’s tall clusters of trees. We were aiming to cut through from the terrace, where the Stevens house stood, making for a street beyond, which ran parallel, where a taxi could be picked up. A few doors away from the Stevens entrance, two or three persons, standing against the railings, were having some sort of argument. Having attended the party, they seemed now to be squabbling. Numbers and sex were not at first distinguishable in the gloom, but turned out as a woman, two men, in fact the Widmerpools and Short. Widmerpool was giving Short a dressing-down. He was very angry. Short was defending himself mildly, but with bureaucratic obstinacy. He could be heard maintaining that administrative breakdowns were from time to time unavoidable.
‘I’ve already told you, Kenneth, that I quite plainly instructed the car to be outside waiting. The driver must have mistaken the address. If so, he will be along in a minute or two.’
As we went by, Widmerpool recognized us.
‘Have you by any chance got a car? Our hired vehicle hasn’t turned up. Leonard has made some sort of muddle. I suppose you couldn’t give us a lift?’
‘We’re on our way to pick up a taxi.’
‘Oh.’
‘Why not do the same? They come down fairly frequently in the street behind here.’
‘Pam doesn’t want to walk that far. Oh, hell and blast. Why must this have happened?’
Widmerpool was not merely cross, put out by the car not being on time, but wrought up to an extent almost resembling drunkenness. Drink, which he hardly touched as a rule, was unlikely to have played any part in this highly strung state, unless, quite exceptionally, he had felt the Seraglio an occasion to swallow a few glasses, more to impress others with his own improved situation than because he enjoyed their effect. Apart from threat of prosecution, he could have been suffering more than usual domestic strain, Pamela’s design to leave him—if all alleged about Glober were true—now suddenly put into reverse gear. Even if Widmerpool did not know the reason, her change of plans, involvement with Gwinnett, might well have caused more than usually uncomfortable repercussions at home. The fact that she would not walk the few yards necessary to find a taxi showed her mood. Widmerpool stamped his feet. Short addressed us in a more temperate manner.
‘If you should see anything looking like a hired car waiting round the corner, please ask the chauffeur if he’s booked in the name of Sir Leonard Short, will you? He may have mistaken the address. If so, just send him along here.’
We said we would do that.
‘Goodnight.’
‘Goodnight.’
The only answer was Short’s.
‘I told you Lady Widmerpool was looking frightening,’ said Isobel.
‘Will they wait there all night?’
‘I think she’s planning something. That was how she looked to me.’
By that time we had reached the main road. A taxi cruised by. So far as we were both concerned, that closed the Seraglio evening.
As with stories of Trapnel’s last hours, others in connexion with Gwinnett’s decampment from the Bagshaws’, what followed, outside the Stevens house in Regent’s Park, appeared afterwards in various versions. One hears about life, all the time, from different people, with very different narrative gifts. Accordingly, not only are many episodes, in which you may even have played a part yourself, hard enough to assess; a lot more must be judged from haphazard accounts given by others. Even if reported in good faith, some choose one aspect on which to concentrate, some another. This truth, obvious enough, was particularly applicable to the events following the Seraglio party. Even so, essential facts were scarcely in question. My own informants were Moreland and Stevens.
There was no irreplaceable divergence between these two accounts, although, when it came to telling a story in which veracity had to be measured against picturesque detail, neither could be
called pedantically veracious; Moreland, in this respect the more reliable, being, if the more imaginative, the one who also best appreciated the graphic power of fact. Moreland talked about the scene right up to the end. He never tired of it. There can be no doubt it cheered his last months, added, as he himself said, to the richness of his own experience. His powerful gift of creative imagery led him, over and over again, to reconstruct the incidents, whenever anyone came to visit him.
Stevens, in principle to be thought of as a type used to violent scenes, was in a sense more taken by surprise, worse shocked, than Moreland. Marriage may have enervated Stevens, accustomed him by then to sedate, well-behaved routines. The rational, utilitarian, unruffled point of view, tempered with toughness, that directed most of his life—had so directed it in the past—could mislead, as well as stimulate. Like many persons who had enjoyed a comparatively adventurous career, knocked about the world a good deal, he retained a strain of naivety, naivety penetrating just the areas of the mind which, in Moreland’s case, were quite free from any such inhibition. Indeed, Moreland used to complain himself that ‘naivety in short supply’ could be a disadvantage in practising the arts, where it is often necessary to see one thing only, that particular thing with supreme clarity. In fact, when it came to giving a convincing description of what took place that night, the details Stevens produced, except for a few useful appendices, were little more than confirmation of Moreland’s epic account. Stevens himself excused the scrappiness of his own narration.
‘It was so bloody dark, and I was worrying all the time about getting Hugh home, before he had another fit, or whatever it was.’
The Stevens garage was in a mews behind the house. When Stevens drove the car back towards his own front door, he noticed figures talking together a few yards up the terrace. He did not identify them, merely supposing they were guests having a final musical dispute before parting on their separate ways. Moreland, Audrey Maclintick, several others, were by then chatting with Rosie in the hall, Moreland having become so restless lying on the sofa that it seemed best to come downstairs to wait for the car. There they found Mrs Erdleigh, Stripling, Glober, Polly Duport, all about to leave. Moreland at once recognized the potentialities of Mrs Erdleigh, whom he had not met earlier that evening. Within a matter of minutes—as he himself admitted—they were discussing together the magical writings of Cornelius Agrippa. Moreland and Mrs Erdleigh had already reached the book of Abramelin the Mage, spells for surrounding an enemy with a vision of trellis-work, others for causing the Pope to fall in love with you, when Stevens came up the steps. Meanwhile Glober and Stripling had returned to vintage cars.
‘Now we’ll take a look at the Bentley, Mr Stripling. My automobile’s parked at the end of the block.’
Stripling must already have obtained permission from Mrs Erdleigh to inspect the Bentley before restoring her to whatever witch’s lair she inhabited, but there is some uncertainty as to how exactly the outgoing party came on the Widmerpools and Short, still hanging about in the terrace, waiting for their car. It seems possible that Moreland refused to enter the Stevens car before he had finished his occult conversation with Mrs Erdleigh. Alternatively, his interest by now aroused in vintage cars, he too could have wanted to inspect Glober’s vehicle. Moreland seems to have been strolling with Mrs Erdleigh; Stevens and Audrey Maclintick behind; Stripling, Glober, Polly Duport, a short way ahead. The talk of cars may have been carried to the ears of Short, who (having made contact with Glober at supper on the subject of the French political situation vis-à-vis Algeria) now repeated a request for a ‘lift’. Polly Duport was alleged to have thrown back a comment to the effect that the ’31 Bentley was the ‘size of a bus’, thereby raising Short’s hopes. Another possibility is that Pamela had intended that something of this sort should happen. She had been waiting for a chance that had not arisen at the party. She could hardly have foreseen the lateness of the hired car, but might have grasped that Glober, still in the Stevens house, was bound sooner or later to pass that way. Short, having no reason to connect Glober with the Widmerpools, stepped forward, and made a little speech.
‘If your car is really so commodious, Mr Glober, I wonder whether you could include in it a party of three—for our own hired vehicle does not seem to have turned up. It would be too kind were you able to manage that good office. We all live in the Westminster direction, if you happened to be going that way. It ill becomes a native of this country to seek transport from a transatlantic visitor, guest to our shores, but, not for the first time in recent years, we must needs throw ourselves upon the goodwill of American resources.’
Uncertainty prevails whether or not, at this stage, Glober immediately grasped that the other applicants for help were the Widmerpools. On the whole, it seems likely he did not. In the dark, there was no reason why he should recognize them. At the same time, Glober, out of sheer love of living dangerously, may have accepted this as a challenge. Moreland was ignorant of Glober’s former affiliations with Pamela, of whom he knew little or nothing at that time. Stevens, too, had not kept up with Pamela’s ever varying situation, by then of no particular interest to him, provided his own married life was not embarrassed by it. In Venice, he had no doubt thought of the Widmerpools as guests of Jacky Bragadin, rather than connecting either of them with Glober; Pamela’s own references to Glober giving no reason to convey the comparative seriousness of her relationship with him.
‘I’d just love to give you all a ride in my new automobile. Come with us.’
Only after Glober had made that statement, so it appears, did Widmerpool join the group. Pamela still remained a little apart.
‘This is very kind,’ said Widmerpool. ‘We have not seen each other since Venice.’
That indicated he and Glober had exchanged no word at the party. Glober bowed.
‘You’re welcome.’
Glober then introduced Mrs Erdleigh, Jimmy Stripling, Moreland, and Audrey Maclintick. If Widmerpool was to make a convenience of his car, Glober was determined to have some amusement too. Audrey Maclintick, of course, wanted to get Moreland into the Stevens car—and home—but for once does not seem to have succeeded in making her voice heard. Moreland, telling the story, emphasized the formality of Glober’s introductions. That was the moment when Pamela joined the group. She came towards them hesitantly, as if she wanted to be introduced too. Her arrival impressed Moreland, not on account of any foreseeable disharmony that might include Glober, but because of the look given her by Mrs Erdleigh, more precisely rays of mystic disapproval trajected with force noticeable even in the dark. That perception was characteristic of Moreland. Mrs Erdleigh had made a deep impression on him.
‘The Sorceress seemed to know Lady Widmerpool already. At least she gave her extraordinary smile—one I would rather not have played on myself.’
Pamela had smiled in return. She took no other notice of Mrs Erdleigh, nor the rest of them. The person to whom she addressed herself was Polly Duport. Pamela did not come close, but it was plain to whom she was speaking.
‘I hear you’re going to be the star in Louis’s new film.’
Pamela said that very gently, barely audibly. Her tone almost suggested she was shy of mentioning the matter at all, though beyond words delighted at hearing such a rumour. All she wanted was to have the good news confirmed. Both Moreland and Stevens agreed there was not the smallest hint of unfriendliness in Pamela’s voice. At the same time, Stevens, knowing Pamela to the extent of having lived with her for at least a few weeks, had no doubt something ominous was brewing. Moreland, it seemed, had not bothered to categorize Pamela at all; so far as he was concerned, another ‘lady of fashion’, full of every sort of nonsense about music, to be avoided at all costs. He admitted to having been struck by her looks, when he came to examine her.
Polly Duport, whether she knew much or little about Pamela, can have had few illusions as to friendliness. She could hardly have failed to hear of Glober’s comparatively recent intention to cast
Pamela for the lead she herself—anyway for the moment—was intended by him to play. Beyond that knowledge, of a purely business sort, the extent of her awareness of Pamela’s character, even nature of relationship with Glober, could well be over-estimated. The segregated life of the Theatre, separated by its nature from so much going on round about, might easily have prevented her from hearing more than essential; so to speak, her own cue in taking Pamela’s place. Polly Duport herself may not have been, over and above that, at all interested. She would know that Pamela, not a professional actress, had been in the running as ‘star’ of Glober’s film, had probably experienced some sort of love affair with him. That was not necessarily significant. There was no reason for her to guess Glober had planned to marry Pamela.
Polly Duport, replying to Pamela’s question, seems to have let fall a scrap of stylized stage banter adapted to such an enquiry, one of those conventional sets of phrase, existing in every professional world, in this case designed for use in counteracting another player, complimentary, spiteful, a mixture of both; clichés probably often in demand throughout the give-and-take of life in the Theatre. Moreland could not remember the actual comeback employed. He suggested several known to himself from his own backstage under-takings. Whatever form Polly Duport’s answer presented was amicably accepted by Pamela, but she did not abandon the subject.
‘I’m sure you’ll like working with Louis.’
‘Who could doubt that?’ said Polly Duport.
She spoke lightly, of course. Pamela was behaving as if so pleased about the whole arrangement, that she was even a little anxious that it might not all go as well as deserved.
‘You mean because all women love Louis?’
‘All the world, surely?’
Dance to the Music of Time, Volume 4 Page 48
