The Man Upstairs and Other Stories. P. G. Wodehouse
down and I will tell you the story of my life. We'll skip the first twenty-eight years and three months, merely mentioning that for the greater part of that time I was looking for somebody just like you. A month and nine days ago I found you. You were crossing the Embankment. I was also on the Embankment. In a taxi. I stopped the taxi, got out, and observed you just stepping into the Charing Cross Underground. I sprang—'
'This does not interest me,' said Annette.
'The plot thickens,' he assured her. 'We left our hero springing, I think. Just so. Well, you took the West End train and got off at Sloane Square. So did I. You crossed Sloane Square, turned up King's Road, and finally arrived here. I followed. I saw a notice up, "Studio to Let". I reflected that, having done a little painting in an amateur way, I could pose as an artist all right; so I took the studio. Also the name of Alan Beverley. My own is Bill Bates. I had often wondered what it would feel like to be called by some name like Alan Beverley or Cyril Trevelyan. It was simply the spin of the coin which decided me in favour of the former. Once in, the problem was how to get to know you. When I heard you playing I knew it was all right. I had only to keep knocking on the floor long enough—'
'Do—you—mean—to—tell—me'—Annette's voice trembled 'do you mean to tell me that you knocked that time simply to make me come up?'
'That was it. Rather a scheme, don't you think? And now, would you mind telling me how you found out that I had been buying your waltz? Those remarks of yours about fools' paradises were not inspired solely by the affairs of Sellers. But it beats me how you did it. I swore Rozinsky, or whatever his name is, to secrecy.'
'A Mr. Morrison,' sad Annette, indifferently, 'rang up on the telephone and asked me to tell you that he was greatly worried by the piles of music which were littering the rooms you lent him.'
The young man burst into a roar of laughter.
'Poor old Morrison! I forgot all about him. I lent him my rooms at the Albany. He's writing a novel, and he can't work if the slightest thing goes wrong. It just shows—'
'Mr. Bates!'
'Yes?'
'Perhaps you didn't intend to hurt me. I dare say you meant only to be kind. But—but—oh, can't you see how you have humiliated me? You have treated me like a child, giving me a make-believe success just to—just to keep me quiet, I suppose. You—'
He was fumbling in his pocket.
'May I read you a letter?' he said.
'A letter?'
'Quite a short one. It is from Epstein, the picture-dealer. This is what he says. "Sir," meaning me, not "Dear Bill," mind you—just "Sir." "I am glad to be able to inform you that I have this morning received an offer of ten guineas for your picture, 'Child and Cat'. Kindly let me know if I am to dispose of it at this price."'
'Well?' said Annette, in a small voice.
'I have just been to Epstein's. It seems that the purchaser is a Miss Brown. She gave an address in Bayswater. I called at the address. No Miss Brown lives there, but one of your pupils does. I asked her if she was expecting a parcel for Miss Brown, and she said that she had had your letter and quite understood and would take it in when it arrived.'
Annette was hiding her face in her hands.
'Go away!' she said, faintly.
Mr. Bates moved a step nearer.
'Do you remember that story of the people on the island who eked out a precarious livelihood by taking in one another's washing?' he asked, casually.
'Go away!' cried Annette.
'I've always thought,' he said, 'that it must have drawn them very close together—made them feel rather attached to each other. Don't you?'
'Go away!'
'I don't want to go away. I want to stay and hear you say you'll marry me.'
'Please go away! I want to think.'
She heard him moving towards the door. He stopped, then went on again. The door closed quietly. Presently from the room above came the sound of footsteps—footsteps pacing monotonously to and fro like those of an animal in a cage.
Annette sat listening. There was no break in the footsteps.
Suddenly she got up. In one corner of the room was a long pole used for raising and lowering the window-sash. She took it, and for a moment stood irresolute. Then with a quick movement, she lifted it and stabbed three times at the ceiling.
SOMETHING TO WORRY ABOUT
A GIRL stood on the shingle that fringes Millbourne Bay, gazing at the red roofs of the little village across the water. She was a pretty girl, small and trim. Just now some secret sorrow seemed to be troubling her, for on her forehead were wrinkles and in her eyes a look of wistfulness. She had, in fact, all the distinguishing marks of one who is thinking of her sailor lover.
But she was not. She had no sailor lover. What she was thinking of was that at about this time they would be lighting up the shop-windows in London, and that of all the deadly, depressing spots she had ever visited this village of Millbourne was the deadliest.
The evening shadows deepened. The incoming tide glistened oilily as it rolled over the mud flats. She rose and shivered.
'Goo! What a hole!' she said, eyeing the unconscious village morosely. 'What a hole!'
This was Sally Preston's first evening in Millbourne. She had arrived by the afternoon train from London—not of her own free will. Left to herself, she would not have come within sixty miles of the place. London supplied all that she demanded from life. She had been born in London; she had lived there ever since—she hoped to die there. She liked fogs, motor-buses, noise, policemen, paper-boys, shops, taxi-cabs, artificial light, stone pavements, houses in long, grey rows, mud, banana-skins, and moving-picture exhibitions. Especially moving-picture exhibitions. It was, indeed, her taste for these that had caused her banishment to Millbourne.
The great public is not yet unanimous on the subject of moving-picture exhibitions. Sally, as I have said, approved of them. Her father, on the other hand, did not. An austere ex-butler, who let lodgings in Ebury Street and preached on Sundays in Hyde Park, he looked askance at the 'movies'. It was his boast that he had never been inside a theatre in his life, and he classed cinema palaces with theatres as wiles of the devil. Sally, suddenly unmasked as an habitual frequenter of these abandoned places, sprang with one bound into prominence as the Bad Girl of the Family. Instant removal from the range of temptation being the only possible plan, it seemed to Mr. Preston that a trip to the country was indicated.
He selected Millbourne because he had been butler at the Hall there, and because his sister Jane, who had been a parlour-maid at the Rectory, was now married and living in the village.
Certainly he could not have chosen a more promising reformatory for Sally. Here, if anywhere, might she forget the heady joys of the cinema. Tucked away in the corner of its little bay, which an accommodating island converts into a still lagoon, Millbourne lies dozing. In all sleepy Hampshire there is no sleepier spot. It is a place of calm-eyed men and drowsy dogs. Things crumble away and are not replaced. Tradesmen book orders, and then lose interest and forget to deliver the goods. Only centenarians die, and nobody worries about anything—or did not until Sally came and gave them something to worry about.
Next door to Sally's Aunt Jane, in a cosy little cottage with a wonderful little garden, lived Thomas Kitchener, a large, grave, self-sufficing young man, who, by sheer application to work, had become already, though only twenty-five, second gardener at the Hall. Gardening absorbed him. When he was not working at the Hall he was working at home. On the morning following Sally's arrival, it being a Thursday and his day off, he was crouching in a constrained attitude