The Talking Horse, and Other Tales by F. Anstey (feel good novels TXT) 📖

his own tastes run in a gory direction, but perhaps Ethel, being a girl, may not care for battles or desperate duels. A compromise strikes him; he will draw a pirate ship: that will be first rate, with the black flag flying on the mainmast, and the pirate captain on the poop scouring the ocean with a big glass in search of merchantmen; all about the deck and rigging he can put the crew, with red caps, and belts stuck full of pistols and daggers.

And on the right there shall be a bit of the pirate island, with a mast and another black flag—he knows he will enjoy picking out the skull and cross-bones in thick Chinese white—and then, if there is room, he will add a cannon, and perhaps a palm tree. A pirate island always has palm trees.

He is so full of this projected picture of his that he is quite surprised to find that he is very near the square where he lives; but here, just in front of him, at the end of the narrow lane, is the public-house with the coach and four engraved on the ground glass of the lower part of the window, and above it the bottles full of coloured water.

And here is the greengrocer's. How long is it since it was a barber's?—surely a very little time. And there is the bootmaker's, with its outside display[Pg 242] of dangling shoes, and the row of naked gas jets blown to pale blue specks and whistling red tongues by turns as a gust sweeps across them.

This is his home, this little dingy, old-fashioned red-brick house at an angle of the square, with a small paved space railed in before it. He pushes open the old gate with the iron arch above, where an oil-lamp used to hang, and hurries up to the door with the heavy shell-shaped porch, impatient to get to the warmth and light which await him within.

The bell has got out of order, for only a faint jangle comes from below as he rings; he waits a little and then pulls the handle again, more sharply this time, and still no one comes.

When Betty does think proper to come up and open the door he will tell her that it is too bad keeping a fellow standing out here, in the fog and cold, all this time.... She is coming at last—no, it was fancy; it seems as if Betty had slipped out for something, and perhaps the cook is upstairs, and his mother may be dozing by the fire, as she has begun to do of late.

Losing all patience, he gropes for the knocker, and, groping in vain, begins to hammer with bare fists on the door, louder and louder, until he is interrupted by a rough voice from the railings behind him.

'Now then, what are you up to there, eh?' says[Pg 243] the voice, which belongs to a burly policeman who has stopped suspiciously on the pavement.

'Why,' says Rolleston, 'I want to get in, and I can't make them hear me. I wish you'd try what you can do, will you?'

The policeman comes slowly in to the gate. 'I dessay,' he says jocularly. 'Is there anythink else? Come, suppose you move on.'

A curious kind of dread of he knows not what begins to creep over Wilfred at this.

'Move on?' he cries, 'why should I move on? This is my house; don't you see? I live here.'

'Now look 'ere, my joker, I don't want a job over this,' says the constable, stolidly. 'You'll bring a crowd round in another minute if you keep on that 'ammering.'

'Mind your own business,' says the other with growing excitement.

'That's what you'll make me do if you don't look out,' is the retort. 'Will you move on before I make you?'

'But, I say,' protests Rolleston, 'I'm not joking; I give you my word I'm not. I do live here. Why, I've just come back from school, and I can't get in.'

'Pretty school you come from!' growls the policeman; ''andles on to your lesson books, if I knows anything. 'Ere, out you go!'

Rolleston's fear increases. 'I won't! I won't!' he cries frantically, and rushing back to the door[Pg 244] beats upon it wildly. On the other side of it are love and shelter, and it will not open to him. He is cold and hungry and tired after his walk; why do they keep him out like this?

'Mother!' he calls hoarsely. 'Can't you hear me, mother? It's Wilfred; let me in!'

The other takes him, not roughly, by the shoulder. 'Now you take my advice,' he says. 'You ain't quite yourself; you're making a mistake. I don't want to get you in trouble if you don't force me to it. Drop this 'ere tomfool game and go home quiet to wherever it is you do live.'

'I tell you I live here, you fool!' shrieks Wilfred, in deadly terror lest he should be forced away before the door is opened.

'And I tell you you don't do nothing of the sort,' says the policeman, beginning to lose his temper. 'No one don't live 'ere, nor ain't done not since I've bin on the beat. Use your eyes if you're not too far gone.'

For the first time Rolleston seems to see things plainly as they are; he glances round the square—that is just as it always is on foggy winter evenings, with its central enclosure a shadowy black patch against a reddish glimmer, beyond which the lighted windows of the houses make yellow bars of varying length and tint.

But this house, his own—why, it is all shuttered and dark; some of the window panes are broken;[Pg 245] there is a pale grey patch in one that looks like a dingy bill; the knocker has been unscrewed from the door, and on its scraped panels someone has scribbled words and rough caricatures that were surely not there when he left that morning.

Can anything—any frightful disaster—have come in that short time? No, he will not think of it; he will not let himself be terrified, all for nothing.

'Now, are you goin'?' says the policeman after a pause.

Rolleston puts his back against the door and clings to the sides. 'No!' he shouts. 'I don't care what you say; I don't believe you: they are all in there—they are, I tell you, they are—they are!'

In a second he is in the constable's strong grasp and being dragged, struggling violently, to the gate, when a soft voice, a woman's, intercedes for him.

'What is the matter? Oh, don't—don't be so rough with him, poor creature!' it cries pitifully.

'I'm only exercisin' my duty, mum,' says the officer; 'he wants to create a disturbance 'ere.'

'No,' cries Wilfred, 'he lies! I only want to get into my own house, and no one seems to hear me. You don't think anything is the matter, do you?'

It is a lady who has been pleading for him; as he wrests himself from his captor and comes forward she sees his face, and her own grows white and startled.

'Wilfred!' she exclaims.

[Pg 246]

'Why, you know my name!' he says. 'Then you can tell him it's all right. Do I know you? You speak like—is it—Ethel?'

'Yes,' she says, and her voice is low and trembling, 'I am Ethel.'

He is silent for an instant; then he says slowly, 'You are not the same—nothing is the same: it is all changed—changed—and oh, my God, what am I?'

Slowly the truth is borne in upon his brain, muddled and disordered by long excess, and the last shred of the illusion which had possessed him drifts away.

He knows now that his boyhood, with such possibilities of happiness as it had ever held, has gone for ever. He has been knocking at a door which will open for him never again, and the mother by whose side his evening was to have been passed died long long years ago.

The past, blotted out completely for an hour by some freak of the memory, comes back to him, and he sees his sullen, morbid boyhood changing into something worse still, until by slow degrees he became what he is now—dissipated, degraded, lost.

At first the shock, the awful loneliness he awakes to, and the shame of being found thus by the woman for whom he had felt the only pure love he had known, overwhelm him utterly, and he leans his head upon his arms as he clutches the railings, and sobs with a grief that is terrible in its utter abandonment.

[Pg 247]

The very policeman is silent and awed by what he feels to be a scene from the human tragedy, though he may not be able to describe it to himself by any more suitable phrase than 'a rum start.'

'You can go now, policeman,' says the lady, putting money in his hand. 'You see I know this—this gentleman. Leave him to me; he will give you no trouble now.'

And the constable goes, taking care, however, to keep an eye occasionally on the corner where this has taken place. He has not gone long before Rolleston raises his head with a husky laugh: his manner has changed now; he is no longer the boy in thought and expression that he was a short time before, and speaks as might be expected from his appearance.

'I remember it all now,' he says. 'You are Ethel Gordon, of course you are, and you wouldn't have anything to do with me—and quite right too—and then you married my brother Lionel. You see I'm as clear as a bell again now. So you came up and found me battering at the old door, eh? Do you know, I got the fancy I was a boy again and coming home to—bah, what does all that matter? Odd sort of fancy though, wasn't it? Drink is always playing me some cursed trick now. A pretty fool I must have made of myself!'

She says nothing, and he thrusts his hands deep in his ragged pockets. 'Hallo! what's this I've got?' he says, as he feels something at the bottom of one of[Pg 248] them, and, bringing out the box of soldiers he had bought half an hour before, he holds it up with a harsh laugh which has the ring of despair in it.

'Do you see this?' he says to her. 'You'll laugh when I tell you it's a toy I bought just now for—guess whom—for your dear husband! Must have been pretty bad, mustn't I? Shall I give it to you to take to him—no? Well, perhaps he has outgrown such things now, so here goes!' and he pitches the box over the railings, and it falls with a shiver of broken glass as the pieces of painted tin rattle out upon the flag-stones.

'And now I'll wish you good evening,' he says, sweeping off his battered hat with mock courtesy.

She tries to keep him back. 'No, Wilfred, no; you must not go like that. We live here still, Lionel and I, in the same old house,' and she indicates the house next door; 'he will be home very soon. Will you' (she cannot help a little shudder at the thought of such a guest)—'will you come in and wait for him?'

'Throw myself into his arms, eh?' he says. 'How delighted he would be! I'm just the sort of brother to be a credit to a highly respectable young barrister like him. You really think he'd like it? No; it's all right, Ethel; don't be alarmed: I was only joking. I shall never come in your way, I promise you. I'm just going to take myself off.'

'Don't say that,' she says (in spite of herself she[Pg 249] feels relieved); 'tell me—is there nothing we can do—no help we can give you?'

'Nothing,' he answers fiercely; 'I don't want your pity. Do you think I can't see that you wouldn't touch me with the tongs if you could help it? It's too late to snivel over me now, and I'm well enough as I am. You leave me alone to go to the devil my own way; it's all I ask of you. Good-bye. It's Christmas, isn't it? I haven't dreamed that at all events. Well, I wish you and Lionel as merry a Christmas as I mean to have. I can't say more than that in the way of enjoyment.'

He turns on his heel at the last words and slouches off down the narrow lane by which he had come. Ethel Rolleston stands for a while, looking after his receding form till the fog closes round it and she can see it no more. She feels as if she had seen a