 1. Mr. Ricardo, when the excitements of the Villa Rose were done with, returned to Grover and resumed the busy unnecessary life of an amateur. But the studios had lost their savor, artists, their attractiveness, and even the Russian opera seemed a trifle flat. Life was altogether a disappointment. Fate, like an actress at a restaurant, had taken the wooden pestle in her hand and stirred all the sparkle out of the champagne. Mr. Ricardo languished until one unforgettable morning. He was sitting disconsolately at his breakfast table, when the door was burst open, and a square stout man with the blue-shaven face of a French comedian flung himself into the room. Ricardo sprang towards the newcomer with a cry of delight. My dear Hanno! He seized his visitor by the arm, feeling it to make sure that, here in flesh and blood, stood the man who had introduced him to the acutest sensations of his life. He turned towards his butler, who was still bleeding expostulations in the doorway at the unceremonious eruption of the French detective. Another place-burton at once he cried, and as soon as he and Hanno were alone, what good wind blows you to London! Business, my friend, the disappearance of bullion somewhere on the line between Paris and London. But it is finished. Yes, I take holiday. A light had suddenly flashed in Mr. Ricardo's eyes, and it was now no less suddenly extinguished. Hanno paid no attention whatever to his friend's disappointment. He pounced upon a piece of silver, which adorned the table-claw, and took it over to the window. Everything is as it should be, my friend. He exclaimed with a grin, groven or square, that times open at the money-column and a false antique upon the table. Thus I have dreamed of you. All Mr. Ricardo is in that sentence. Ricardo laughed nervously. Recollection that made him wary of Hanno's sarcasm. He was shy even to protest the genuineness of his silver. But indeed he had not the time, for the door opened again, and once more the butler appeared. On this occasion, however, he was alone. Mr. Caledine would like to speak to you, sir, he said. Caledine cried Ricardo in an extreme surprise, that is the most extraordinary thing. He looked at the clock upon his mantelpiece. It was barely half past eight. At this hour, too. Mr. Caledine is still wearing evening-dress, the butler remarked. Ricardo started in his chair. He began to dream of possibilities, and here was Hanno miraculously at his side. Where is Mr. Caledine, he asked. I've shown him into the library. Good, said Mr. Ricardo, I will come to him. But he was in no hurry. He sat and let his thoughts play with this incident of Caledine's early visit. It is very odd, he said. I have not seen Caledine for months. No, nor has anyone. Yet a little while ago no one was more often seen. He fell apparently into a muse, but he was merely seeking to provoke Hanno's curiosity. In this attempt, however, he failed. Hanno continued placidly to eat his breakfast so that Mr. Ricardo was compelled to volunteer the story which he was burning to tell. Drink your coffee, Hanno, and you shall hear about Caledine. Hanno, grunted with resignation, and Mr. Ricardo flowed on. Caledine was one of England's young men. Everybody said so. He was going to do very wonderful things, as soon as he had made up his mind exactly what sort of wonderful things he was going to do. Meanwhile, you met him in Scotland, at Newmarket, at Ascot, at Cowes, in the box of some great lady at the opera, not before half past ten in the evening there, in any fine house where the candles that night happened to be lit. He went everywhere, and then a day came and he went nowhere. There was no scandal, no trouble, not a whisper against his good name. He simply vanished. For a little while a few people asked what has become of Caledine, but there never was any answer, and London has no time for unanswered questions. Other promising young men dined in his place. Caledine had joined the huge legion of the Ecome to Nothings. No one even seemed to pass him in the street. Now, unexpectedly, at half past eight in the morning, and in evening dress, he calls upon me. Why, I asked myself. Mr. Ricardo sank once more into a reverie, and oh, watched him with a broadening smile of pure enjoyment. And in time, I suppose, he remarked casually, you will perhaps ask him? Mr. Ricardo sprang out of his pose to his feet. Before I discussed serious things with an acquaintance, he said, with a scathing dignity, I make it a rule to revive my impressions of his personality. The cigarettes are in the crystal box. They would be, said Hanoe, unabashed as Ricardo stalked from the room. But in five minutes Mr. Ricardo came running back, all his composure gone. It is the greatest good fortune that you, my friend, should have chosen this morning to visit me, he cried, and Hanoe nodded with a little grimace of resignation. There goes my holiday, you shall command me now, and always I will make the acquaintance of your young friend. He rose up and followed Ricardo into a study where a young man was nervously pacing the floor. Mr. Caledine said, Ricardo, this is Mr. Hanoe. The young man turned eagerly. He was tall, with a noticeable elegance and distinction, and the face which he showed to Hanoe was, in spite of its agitation, remarkably handsome. I am very glad, he said, you are not an official of this country. You can advise, without yourself taking action, if you'll be so good. Hanoe frowned. He bent his eyes uncompromisingly upon Caledine. What does that mean, he asked, with a note of sternness in his voice? It means that I must tell someone, Caledine burst out in quivering tones, that I don't know what to do. I am in a difficulty too big for me. That's the truth. Hanoe looked at the young man keenly. It seemed to Ricardo that he took in every excited gesture, every twitching feature in one comprehensive glance. And then he said, in a friendlier voice, sit down and tell me, and he himself drew up a chair to the table. I was at the Simaramis last night, said Caledine, naming one of the great hotels upon the embankment. There was a fancy dress fall. All this happened, by the way, in those far off days before the war, nearly in fact, three years ago today, when London, flinging aside its reticence, its shy self-consciousness, had become a city of carnivals and masquerades, rivaling its neighbors on the continent in the spirit of its gaiety, and exceeding them by its stupendous luxury. I went by the nearest chance. My rooms are in the Adelphi Terrace. There cried Mr. Ricardo in surprise, and Hanoe lifted a hand to check his interruptions. Yes, continued Caledine. The night was warm. The music floated through my open windows and stirred old memories. I happened to have a ticket. So I went. Caledine drew up a chair opposite to Hanoe and at seating himself, told with many nervous starts and in troubled tones, a story which, to Mr. Ricardo's thinking, was as fabulous as any out of the Arabian Nights. I had a ticket. He began. But no, Domino. I was consequently stopped by an attendant in the lounge at the top of the staircase, leading down to the ballroom. You can hire a Domino in the cloakroom, Mr. Caledine. He told to me. I had already begun to regret the impulse which it brought me, and I welcomed the excuse with which the absence of a costume provided me. I was, indeed, turning back to the door when a girl who had at that moment run down from the stairs of the hotel into the lounge, cried gaily, that's not necessary. And at the same moment she flung to me a long scarlet cloak which she had been wearing over her own dress. She was young, fair, rather tall, slim, and very pretty. Her hair was drawn back from her face with a ribbon, and rippled down her shoulders in heavy curls. And she was dressed in a satin coat and knee-bridges of pale green and gold, with a white waistcoat and silk stockings and scarlet heels to her satin shoes. She was as straight-limbed as a boy, and exquisite like a figure, endraised in china. I caught the cloak, and it turned to thank her. But she did not wait. With a laugh she ran down the stairs, a supple and shining figure, and was lost in the throng at the doorway of the ballroom. I was stirred by the prospect of an adventure. I ran down after her. She was standing just inside the room alone, and she was gazing at the scene with parted lips and dancing eyes. She laughed again as she saw the cloak about my shoulders, a delicious gurgle of amusement. And I said to her, May I dance with you? Oh, do, she cried, with a little jump and clasping her hands. She was of a high and joyous spirit, and not difficult in the matter of an introduction. This gentleman will do very well to present us, she said, leading me in front of a bust of the god Pan, which stood in an itch of the wall. I am, as you see, straight out of an opera. My name is Salamene, or anything with an eighteenth-century sound to it. You are, oh, well, what you will. For this evening we are friends. And for tomorrow, I ask. I will tell you about that later on, she replied, and she began to dance with a light step and a passion in her dancing, which earned me many an envious glance from the other men. I was in luck. For Salamene knew no one, and though, of course, I saw the faces of a great many people whom I remembered, I kept them all at a distance. We had been dancing for about half an hour when the first queerish thing happened. She stopped suddenly in the midst of a sentence with a little gasp. I spoke to her, but she did not hear. She was gazing past me, her eyes wide open, and such a wrapped look upon her face as I had never seen. She was lost in a miraculous vision. I followed the direction of her eyes, and to my astonishment, I saw nothing more than a stout, short, middle-aged woman egregiously overdressed as a Marie Antoinette. So you do know someone here, I said, and I had to repeat the word sharply before my friend withdrew her eyes. But even then she was not aware of me. It was as if a voice had spoken to her whilst she was asleep and had disturbed but not wakened her. Then she came to, there's really no other word I can think of which describes her at that moment, she came too with a deep sigh. No, she answered she is a Mrs. Blumenstein from Chicago, a widow with ambitions and a great deal of money, but I don't know her. Yet you know all about her, I remarked. She crossed in the same boat with me, Celemani replied. Did I tell you that I landed at Liverpool this morning? She is staying at the Semiramis, too. Oh, let's dance. She twitched my sleeve impatiently and danced with a kind of violence and wildness as if she wished to banish some sinister thought. And she did undoubtedly banish it. We subbed together and grew confidential, as under such conditions people will. She told me her real name. It was Joan Caru. I have come over to get an engagement if I can at Covent Garden. I'm supposed to sing all right, but I don't know anyone. I have been brought up in Italy. You have some letters of introduction, I suppose, I ask. Oh yes, one from my teacher in Milan, one from an American manager. In my turn I told her my name and where I lived, and I gave her my card. I thought, you see, that since I had used to know a good many operatic people, I might be able to help her. Thank you, she said, and at that moment Mrs. Blumenstein, followed by a party, chiefly, those lapdog young men who always seemed to gather about that kind of person, came into the supper room and took a table close to us. There was at once an end of all confidences, indeed, of all conversation. Joan Caru lost all the lightness of her spirit. She talked at random, and her eyes were drawn again and again to the grotesque slander on Marie Antoinette. Finally I became annoyed. Shall we go? I suggested impatiently, and to my surprise she whispered passionately, oh yes, please, let us go. Her voice was actually shaking. Her small hands clenched. We went back to the ballroom, but Joan Caru did not recover her gaiety, and halfway through a dance, when we were near to the door, she stopped abruptly, extraordinarily abruptly. I shall go. She said abruptly, I'm tired, I've grown dull. I protested, but she made a little grimace. You'll hate me in half an hour. Let's be wise and stop now while we are friends, she said, and whilst I removed the domino from my shoulders, she stooped very quickly. It seemed to me that she picked up something which had lain hidden beneath the sole of her slipper. She certainly moved her foot, and I certainly saw something small and bright flash in the palm of her glove as she raised herself again. But I imagined merely that it was some object which she had dropped. Yes, we'll go, she said, and we went up the stairs into the lobby. Certainly all the sparkle had gone out of our adventure. I recognized her wisdom. But I shall see you again, I asked. Yes, I have your address. I'll write and fix a time when you will be sure to find me in. Good night and a thousand thanks. I should have been bored to tears if you hadn't come without a domino. She was speaking lightly as she held out her hand, but her grip tightened a little and clung. Her eyes darkened and grew troubled, her mouth trembled. The shadow of a gray trouble had suddenly closed upon her. She shivered. I am half inclined to ask you to stay, however dull I am, and dance with me till daylight, the safe daylight, she said. It was an extraordinary phrase for her to use, and it moved me. Let us go back then, I urged. She gave me an impression suddenly of someone quite forlorn. But John Carew recovered her courage. No, no, she answered quickly. She snatched her hand away and ran lightly up the staircase, turning at the corner to wave her hand and smile. It was then half past one in the morning. So far, Caledine had spoken without an interruption. Mr. Ricardo, it is true, was bursting to break in with the most important questions, but a salutary fear of Hanoe restrained him. Now, however, he had an opportunity for Celadine paused. Half past one, he said, sagely. Aha! And when did you go home? Hanoe asked of Caledine. True, said Mr. Ricardo, it is of the greatest consequence. Caledine was not so sure. His partner had left behind her the strangest medley of sensations in his breast. He was puzzled, haunted, and charmed. He had to think about her. He was a trifle uplifted. Sleep was impossible. He wandered for a while about the ballroom. Then he walked to his chambers along the echoing streets and sat at his window. And sometime afterwards the hood of a motorhorn broke the silence and a car stopped and whirred in the street below. A moment later his bell rang. He ran down the stairs in a queer excitement, unlocked the street door, and opened it to Joan Carreux. Still in her masquerade dress, with her scarlet cloak about her shoulders, slipped through the opening. Shut the door! She whispered, drawing herself apart in the corner. Your cab, asked Caledine, well, it's gone. Caledine latched the door. Above in the well of the stairs, the light spread out from the open door of his flat. Down here, all was dark. He could just see the glimmer of her white face, the glitter of her dress, but she drew her breath like one who has run far. They mounted the stairs cautiously. He did not say a word until they were both safely in his parlor. And even then it was in a low voice. What has happened? You remember the woman I stared at? You didn't know why I stared, but any girl would have understood. She was wearing the loveliest pearls I ever saw in my life. Joan was standing by the edge of the table. She was tracing with her finger a pattern on the cloth as she spoke. Caledine started with a horrible presentiment. Yes, she said, I worship pearls. I always have done. For one thing, they improve on me. I haven't got any, of course. I have no money. But friends of mine who do own pearls have sometimes given theirs to me to wear when they were going sick. And they have always got back their luster. I think that has had a little to do with my love of them. Oh, I've always longed for them. Just a little straying. Sometimes I have felt that I would have given my soul for them. She was speaking in a dumb, monotonous voice. But Caledine recalled the ecstasy which had shown in her face when her eyes first had fallen on the pearls, the longing which had swept her quite into another world, the passion with which she had danced to throw the obsession off. And I never noticed them at all, he said. Yet they were wonderful. The color, the luster, all the evening they tempted me. I was furious that a fat coarse creature like that should have such exquisite things. Oh, I was mad. She covered her face suddenly with her hands and swayed. Caledine sprang towards her. But she held out her hand. No, no, I'm all right. And though he asked her to sit down, she would not. You remember when I stopped dancing suddenly? Yes, you had something hidden under your foot. The girl nodded. Her key, and under his breath, Caledine uttered a startled cry. For the first time since she had entered the room, Joan Carew raised her head and looked at him. Her eyes were full of terror, and with the terror was mixed and incredulity as though she could not possibly believe that that had happened which she knew had happened. A little Yale key, the girl continued. I saw Mrs. Blumenstein looking on the floor for something, and then I saw it shining on the very spot. Mrs. Blumenstein's suite was on the same floor as mine, and her maid slept above. All the maids do. I knew that. Oh, it seemed to me as if I had sold my soul and was being paid. Now Caledine understood what she had meant by her strange phrase, the safe daylight. I went up to my little suite. Joan Carew continued. I sat there with the key, burning through my glove, until I had given her time enough to fall asleep. And though she hesitated before she spoke the words, she did speak them, not looking at Caledine and with a shudder of remorse making her confession complete. Then I crept out. The corridor was dimly lit, far away below the music was throbbing. Up here it was as silent as the grave. I opened the door, heard door. I found myself in a lobby. The suite, though bigger, was arranged like mine. I slipped in and closed the door behind me. I listened in the darkness. I couldn't hear a sound. I crept forward to the door in front of me. I stood with my fingers on the handle and my heart beating fast enough to choke me. I had still time to turn back. But I could not. There were those pearls in front of my eyes, lustrous and wonderful. I opened the door gently an inch or so, and then it all happened in a second. End of Part 1 Part 2 of The Affair at the Simiramis Hotel by A. E. W. Mason This LibriVox recording is in the public domain. Part 2 Junkeru faltered. The night was too near to her, its memory too poignant with terror. She shut her eyes tightly and cowered down in a chair. With the movement her cloak slipped from her shoulders and dropped onto the ground. Caledine leaned forward with an exclamation of horror. Junkeru started up. What is it? She asked. Nothing. Go on. I found myself inside the room with the door shut behind me. I had to shut it myself in a spasm of terror. And I did not turn round to open it. I was helpless. What do you mean? She was awake. Junkeru shook her head. There were others in the room before me and on the same errand men. Caledine drew back, his eyes searching the girl's face. Yes, he said slowly. I didn't see them at first. I didn't hear them. The room was quite dark except for one jet of fierce white light which beat upon the door of a safe. And as I shut the door the jet moved swiftly and the light reached me and stopped. I was blinded. I stood in the full glare of it drawn up against the panels of the door, shivering, sick with fear. Then I heard a quiet laugh and someone moved softly towards me. Oh, it was terrible! I recovered the use of my limbs. In a panic I turned to the door. But I was too late. Whilst I fumbled with a handle I was seized. A hand covered my mouth. I was lifted to the center of the room. The jet went out. The electric lights were turned on. There were two men dressed as Apaches and velvet trousers and red scarves, like a hundred others in the ballroom below. And both were masked. I struggled furiously, but of course I was like a child in their grasp. Tire legs, the man whispered who was holding me, she's making too much noise. I kicked and fought, but the other man stooped and tied my ankles. And I fainted. Caledine nodded his head. Yes, he said. When I came to the lights were still burning, the door of the safe was open, the room empty. I had been flung onto a couch at the foot of the bed. I was lying there quite free. Was the safe empty? asked Caledine suddenly. I didn't look, she answered. Oh, and she covered her face spasmodically with her hands. I looked at the bed. Someone was lying there under a sheet and quite still. There was a clock ticking in the room. It was the only sound. I was terrified. I was going mad with fear. If I didn't get out of the room at once I felt that I should go mad, that I should scream and bring everyone to find me alone with what was under the sheet in the bed. I ran to the door and looked out through a slit into the corridor. It was still quite empty, and below the music still throbbed in the ballroom. I crept down the stairs meeting no one until I reached the hall. I looked into the ballroom as if I was searching for someone. I stayed long enough to show myself. Then I got a cab and came to you. A short silence followed. Joan Caru looked at her companion in appeal. You are the only one I could come to, she added. I know no one else. Caledine sat watching the girl in silence. Then he asked, and his voice was hard. And is that all you have to tell me? Yes. You are quite sure? Joan Caru looked at him perplexed by the urgency of his question. She reflected for a moment or two. Quite! Caledine arose to his feet and stood beside her. Then how do you come to be wearing this? He asked, and he lifted a chain of platinum and diamonds, which she was wearing about her shoulders. You weren't wearing it when you danced with me. Joan Caru stared at the chain. No! It's not mine. I've never seen it before. Then a light came into her eyes. The two men, they must have thrown it over my head when I was on the couch before they went. She looked at it more closely. That's it. The chain's not very valuable. They could spare it, and it would accuse me of what they did. Yes, that's very good reasoning, said Caledine coldly. Joan Caru looked quickly up into his face. Oh, you don't believe me, she cried. You think, oh, it's impossible. And holding him by the edge of his coat, she burst into a storm of passionate denials. But you went to steal, you know. He said gently, and she answered him at once. Yes, I did, but not this. And she held up the necklace. Should I have stolen this? Should I have come to you wearing it? If I had stolen the pearls? If I had? And she stopped. If my story were not true? Caledine weighed her argument, and it affected him. No, I think you wouldn't, he said frankly. Most crimes, no doubt, were brought home because the criminal had made some incomprehensibly stupid mistake. Incomprehensibly stupid, that is, by the standards of normal life. Nevertheless, Caledine was inclined to believe her. He looked at her. That she should have murdered was absurd. Moreover, she was not making a parade of remorse, and she was not playing the unctuous penitent. She had yielded to a temptation, had got herself into desperate straits, and was at her wit's end how to escape from them. She was frank about herself. Caledine looked at the clock. It was nearly five o'clock in the morning, and though the music could still be heard from the ballroom in the Cimaramis, the night had begun to wane upon the river. You must go back, he said. I'll walk with you. They crept silently down the stairs and into the street. It was only a step to the Cimaramis. They met no one until they reached the strand. There, many like Joan Caru in Masquerade were standing about, or walking hither and thither in search of carriages and cabs. The whole street was in a bustle, what with drivers shouting and people coming away. You can slip in unnoticed, said Caledine, as he looked into the thronged courtyard. I'll telephone to you in the morning. You will, she cried eagerly, clinging for a moment to his arm. Yes, for certain, he replied. Wait in until you hear from me. I'll think it over. I'll do what I can. Oh, thank you, she said fervently. He watched her scarlet cloak flitting here and there in the crowd until it managed through the doorway. Then, for the second time, he walked back to his chambers while the morning crept up the river from the sea. This was the story which Caledine told in Mr. Ricardo's library. Mr. Ricardo heard it out with varying emotions. He began with a thrill of expectation, like a man on a dark threshold of great excitement. The setting of the story appealed to him, too, by a sort of brilliant bizarrerie which he found in it. But as it went on he grew puzzled and a trifle disheartened. There were flaws and chinks. He began to bubble with unspoken criticisms, then swift and clever thrusts which he dared not deliver. He looked upon the young man with disfavor as upon one who had half opened a door upon a theatre of great promise, and shown himself a spectacle not up to the mark. Heno, on the other hand, listened imperturbably without an expression upon his face until the end. Then he pointed a finger at Caledine and asked him what to Ricardo's mind was a most irrelevant question. You got back to your rooms then before five, Mr. Caledine, and it's now nine o'clock less a few minutes. Yes? Yet you have not changed your clothes. Explain to me that. What did you do between five and a half past eight? Caledine looked down at his rumpled shirt front. Upon my word I never thought of it, he cried. I was worried out of my mind. I couldn't decide what to do. Finally I determined to talk to Mr. Ricardo, and after I come to that conclusion I just waited impatiently until I could come round with decency. Heno rose from his chair. His manner was grave, but conveyed no single hint of an opinion. He turned to Ricardo. Let us go round to your young friend's rooms in the Adelphi, he said, and the three men drove thither at once. Two. Caledine lodged in a corner house and upon the first floor. His rooms, large and square and lofty, with Adams mantelpieces and a delicate tracery upon their ceilings, breathed the grace of the eighteenth century. Broad high windows, embrasured in thick walls, overlooked the river, and took in all the sunshine and the air which the river had to give. And they were furnished fittingly. When the three men had entered the parlor, Mr. Ricardo was astounded. He had expected the untidy litter of a man run to seed, the neglect and the dust of the recluse. But the room was as clean as a deck of a yacht. An abuson carpet made the floor luxurious underfoot. A few-colored prints of real value decorated the walls, and the mahogany furniture was polished so that a lady could have used it as a mirror. There was even, by the newspapers, upon the round table a china bowl full of fresh red roses. If Caledine had turned hermit, he was a hermit of an unusually fastidious type. Indeed, as he stood with his two companions in his disheveled dress, he seemed quite out of keeping with his rooms. So, you live here, Mr. Caledine, said, Hanno, taking off his hat and laying it down. Yes, with your servants, of course. They come in during the day, said Caledine, and Hanno looked at him curiously. Do you mean that you sleep here alone? Yes. But your ballot? I don't keep a ballot, said Caledine, and again the curious look came into Hanno's eyes. Yet he suggested gently there are rooms enough in your set of chambers to house a family. Caledine colored and shifted uncomfortably from one foot to the other. I prefer at night not to be disturbed, he said, stumbling a little over the words. I mean, I have a liking for quiet. Gabriel Hanno nodded his head with sympathy. Yes, yes, and it is a difficult thing to get, as difficult as my holiday, he said ruefully, with a smile for Mr. Ricardo. However, he turned towards Caledine. No doubt, now that you are at home, you would like a bath and a change of clothes. And when you are dressed, perhaps you will telephone to the Cimaramis and ask Miss Caru to come round here. Meanwhile, we will read your newspapers and smoke your cigarettes. Hanno shut the door upon Caledine, but he turned neither to the papers nor the cigarettes. He crossed the room to Mr. Ricardo, who seated at the open window, was plunged deep in reflections. You have an idea, my friend, Cried Hanno. It demands to express itself, that sees itself in your face. Let me hear it, I pray. Mr. Ricardo started out of an absorption which was altogether assumed. I was thinking, he said, with a far away smile, that you might disappear in the forests of Africa, and at once everyone would be very busy about your disappearance. You might leave your village in Leicestershire and live in the fogs of Glasgow, and within a week the whole village would know your postal address. But London, what a city! How different, how indifferent! Turn out of St. James's into the Adelphi Terrace, and not a soul will say to you, Dr. Livingston, I presume? But why should they ask Hanno, if your name isn't Dr. Livingston? Mr. Ricardo smiled indulgently. Scoffer, he said, you understand me very well, and he sought to turn the tables on his companion, and you, does this room suggest nothing to you? Have you no ideas? But he knew very well that Hanno had. Ever since Hanno had crossed the threshold, he had been like a man stimulated by a drug. His eyes were bright and active, his body alert. Yes, he said, I have. He was standing now by Ricardo's side, with his hands in his pockets, looking out at the trees on the embankment, and the barges swinging down the river. You are thinking of the strange scene which took place in this room such a few hours ago, said Ricardo, the girl in her masquerade dress, making her confession, with the stolen chain about her throat. Hanno looked backwards, carelessly. No, I wasn't giving it a thought, he said, and in a moment or two he began to walk about the room with a curiously light step, which Ricardo was never able to reconcile with his cumbersome figure. With the heaviness of a bear, he still padded. He went from corner to corner, opened a cupboard here, a drawer of the bureau there, and stooped suddenly. He stood erect again with a small box of Morocco leather in his hand. His body, from head to foot, seemed to Ricardo to be expressing the question, have I found it? He pressed a spring and the lid of the box flew open. Hanno emptied his contents into the palm of his hand. There were two or three sticks of sealing wax and a seal. With the shrug of the shoulders, he replaced them and shut the box. You are looking for something, Ricardo announced with sagacity. I am, replied Hanno, and it seemed that in a second or two he found it. Yet, yet, he found it with his hands in his pockets, if he had found it. Mr. Ricardo saw him stop in that attitude in front of the mantel shelf, and heard him utter a long, low whistle. Upon the mantel shelf, some photographs were arranged, a box of cigars stood at one end, a book or two lay between some delicate ornaments of china, and a small engraving in a thin, guilt frame was propped at the back against the wall. Ricardo surveyed the shelf from his seat in the window, but he could not imagine which it was of these objects that so drew in hell Hanno's eyes. Hanno, however, stepped forward. He looked into a vase and turned it upside down. Then he removed the lid of a porcelain cup, and from the very look of his great shoulders, Ricardo knew that he had discovered what he saw. He was holding something in his hands, turning it over, examining it. When he was satisfied, he moved swiftly to the door and opened it cautiously. Both men could hear the splashing of water in a bath. Hanno closed the door again with a nod of contentment, and crossed once more to the window. Yes, it is all very strange and curious, he said, and I do not regret that you dragged me into the affair. You were quite right, my friend, this morning. It is the personality of your young Mr. Caledine, which is the interesting thing. For instance, here we are in London in the early summer. The trees out, freshly green, lilac and flowers in the garden, and I do not know what tingle of hope and expectation in the sunlight and the air. I am middle-aged, yet there is a riot in my blood, a recapture of youth, a belief that just around the corner, beyond the reach of my eyes, wonders wait for me. Don't you feel, too, something like that? Well, then, and he heaved his shoulders in astonishment. Can you understand a young man with money, with fastidious taste, good-looking, hiding himself in a corner at such a time, except for some overpowering reason? No, nor can I. There is another thing. I put a question or two to Caledine. Yes, said Ricardo. He has no servants here at night. He is quite alone, and here is what I find interesting. He has no valid. That seems a small thing to you. I know, as in a moment from Ricardo. Well, it is no doubt a trifle, but it's a significant trifle in the case of a young, rich man. It is generally a sign that there is something strange, perhaps even something sinister, in his life. Mr. Caledine, some months ago, turned out of St. James's into the Adelphi. Can you tell me why? No, replied Mr. Ricardo. Can you? Heno stretched out a hand. In his open palm lay a small round airy bulb about the size of a big button and of a color between green and brown. Look, he said, what is that? Mr. Ricardo took the bulb, wonderingly. It looks to be like the fruit of some kind of cactus. Heno nodded. It is. You will see some pots of it in the hot houses of any really good botanical gardens. Q has them. I have no doubt, pair of certainly has. They are labeled Anhalonium Luini, but amongst the Indians of Yucatan, the plant has a simpler name. What name? Asked Ricardo. Mezcal. Mr. Ricardo repeated the name. It conveyed nothing to him, whatever. There are a good many bulbs, just like that, in the cup upon the mantel shelf, said Heno. Ricardo looked quickly up. Why, he asked. Mezcal is a drug. Ricardo started. Yes, you are beginning to understand now, Heno continued, while your young friend, Caledin, turned out of St. James' into the Adelphi Terrace. Ricardo turned the little bulb over in his fingers. You make a decoction of it, I suppose, he said. Or you can use it as the Indians do in Yucatan, replied Heno. Mezcal enters into their religious ceremonies. They sit at night in a circle about a fire built in the forest and chew it, whilst one of their number beats perpetually upon a drum. Heno looked round the room and took notes of its luxurious carpet, its delicate appointments. Outside the window there was a thunder in the streets, a clamour of voices. Boats went swiftly down the river on the ebb. Beyond the mass of the Semiramis rose the great gray white dome of St. Paul's. Opposite upon the southern bank the giant sky signs, the big highlander drinking whiskey, and the rest of them waited, gaunt skeletons, for the night to limb them in fire and give them life. Below the trees in the gardens rustled and waved. In the air were the uplift and sparkle of the young summer. It's a long way from the forest of Yucatan to the Adelphi Terrace of London, said Heno. Yet here I think in these rooms, when the servants are all gone and the house is very quiet, there is a little corner of wild Mexico. A look of pity came into Mr. Ricardo's face. He had seen more than one young man of great promise slacken his hold and let go, just for this reason. Caledine, it seemed, was another. It's like Bong and Keith and the rest of the devilish things, I suppose, he said, indignantly tossing the button upon the table. Heno picked it up. No, he replied, it's not quite like any other drug. It has a quality of its own, which just now is of particular importance to you and me. Yes, my friend, and he nodded his head very seriously, we must watch that we do not make the big fools of ourselves in this affair. There Mr. Ricardo agreed with an ineffable air of wisdom. I am entirely with you. Now, why, Heno asked. Mr. Ricardo was at a loss for a reason, but Heno did not wait. I will tell you, Mascal intoxicates. Yes, but it does more. It gives to the man who eats of it color dreams. Color dreams, Mr. Ricardo repeated in a wondering voice. Yes, strange, heated charms in which violent things happen vividly amongst bright colors. Color is the gift of this little prosaic brown button. He spun the bulb in the air like a coin and catching it again, took it over to the mantelpiece, and dropped it into the porcelain cup. Are you sure of this, Ricardo cried excitedly, and Heno raised his hand in warning. He went to the door, opened it for an inch or so, and closed it again. I am quite sure he returned. I have, for a friend, a very learned chemist in the Collège de France. He is one of those enthusiasts who must experiment upon themselves. He tried this drug. Yes, Ricardo said in a quieter tone. And what did he see? He had a vision of a wonderful garden bathed in sunlight, an old garden of gorgeous flowers and emerald lawns, ponds with golden lilies, and thick U-edges, a garden where peacocks stepped indolently, and groups of gay people fantastically dressed, quarreled, and fought with swords. That is what he saw. And he saw it so vividly that when the vapors of the drug passed from his brain and he waked, he seemed to be coming out of the real world into a world of shifting illusions. Heno's strong, quiet voice stopped, and for a while there was a complete silence in the room. Neither of the two men stirred so much as a finger. Mr. Ricardo once more was conscious of the thrill of strange sensations. He looked round the room. He could hardly believe that a room which had been, nigh was, the home and shrine of mysteries in the dark hours, could wear so bright and innocent of freshness in the sunlight of the morning. There should be something sinister which leaped to the eyes as you crossed the threshold. Out of the real world, Mr. Ricardo quoted, I began to see. Yes, you began to see, my friend, that we must be very careful not to make the big fools of ourselves. My friend of the Collège de France saw a garden. But had he been sitting alone in the window seat where you are, listening through a summer night to the music of the masquerade at the zimmeramis, might he not have seen the ballroom, the dancers, the scarlet cloak, and the rest of the story? You mean, cried Ricardo, now fairly startled, that Caledin came to us with the fumes of Moscow, still working in his brain, that the false world was the real one still for him? I do not know, said Heno. At present I only put questions. I ask them of you. I wish to hear how they sound. Let us reason this problem out. Caledin, let us say, takes a great deal more of the drug than my professor. It will have on him a more powerful effect while it lasts, and it will last longer. Fancy dress balls are familiar things to Caledin. The music floating from the zimmeramis will revive old memories. He sits here, the pageant takes shape before him. He sees himself taking his part in it. Oh, he is happier here, sitting quietly in his window seat, than if he was actually at the zimmeramis. For he is there more intensely, more vividly, more really, than if he had actually descended the staircase. He lives his story through the story of a heated brain. The scene of it changes in the way dreams have. It becomes tragic and sinister. It oppresses him with horror. And in the morning, so obsessed with it, that he does not think to change his clothes, he is knocking at your door. Mr. Ricardo raised his eyebrows and moved. Ah, you see a flaw in my argument, said Hanno, but Mr. Ricardo was wary. Too often in other days he had been leaped upon and trounced for a careless remark. Let me hear the end of your argument, he said. There was then, to your thinking, no temptation of jewels, no theft, no murder, in a word, no selamin. She was born of recollections and the music of the zimmeramis. No, cried Hanno, come with me, my friend. I am not so sure that there was no selaminne. With a smile upon his face, Hanno led the way across the room. He had the dramatic instinct and rejoiced in it. He was going to produce a surprise for his companion, and savoring the moment in advance, he managed his effects. He walked towards the mantelpiece and stopped a few paces from it. Look! Mr. Ricardo looked and saw a broad atom's mantelpiece. He turned a bewildered face to his friend. You see nothing, Hanno asked? Nothing. Look again. I am not sure. But is it not that selaminne is opposing before you? Mr. Ricardo looked again. There was nothing to fix his eyes. He saw a book or two, a cup, a vase or two, and nothing else really, except a very pretty and apparently valuable piece of, and suddenly Mr. Ricardo understood. Straight in front of him, in the very center of the mantelpiece, a figure in painted china was leaning against a china style. It was the figure of a perfectly impossible courtier, feminine and exquisite as could be, and apparel'd also, even to the scarlet heels, exactly as Caledine had described Joan Caru. Hanno chuckled with satisfaction when he saw the expression upon Mr. Ricardo's face. You understand, he said. Do you dream, my friend? At times, yes, like the rest of us. Then recollect your dreams, things, people, which you have seen perhaps that day, perhaps months ago, pop in and out of them, without making themselves prayed for. You cannot understand why. Yet sometimes they cut their strange capers there, logically too, through several associations, which the dreamer, once awake, does not apprehend. Thus our friend here sits in the window, intoxicated by his drug. The music plays in the cimeramis. The curtain goes up in the heated theater of his brain. He sees himself step upon the stage, and who else meets him but the china figure from this mantelpiece. Mr. Ricardo, for a moment, was all enthusiasm. Then his doubt returned to him. What you say, my dear Hanno, is very ingenious. The figure upon the mantelpiece is also extremely convincing. And I should be absolutely convinced, but for one thing. Yes, said Hanno, watching his friend closely. I am, I may say it, I think, a man of the world. And I ask myself, Mr. Ricardo never could ask himself anything, without assuming a manner of extreme pomposity. I ask myself whether a young man who has given up his social ties, who has become a hermit, and that Stilmore, who has become the slave of a drug, would retain that scrupulous carefulness of his body, which is indicated by dressing for dinner when alone. Hanno struck the table with the palm of his hand, and sat down in a chair. Yes, that is the weak point in my theory. You have hit it. I knew it was there, that weak point, and I wondered whether you would seize it. Yes, the consumers of drugs are careless, untidy, even unclean as a rule. But not always. We must be careful. We must wait. For what, asked Ricardo, a beaming with pride, for the answer to a telephone message, replied Hanno, with a nod towards the door. Both men waited impatiently until Caledine came into the room. He wore now a suit of blue surge. He had a clearer eye. His skin a healthier look. He was altogether a more reputable person. But he was plainly very ill at ease. He offered his visitors cigarettes. He proposed refreshments. He avoided entirely and awkwardly the object of their visit. Hanno smiled. His theory was working out. Sobered by his bath, Caledine had realized the foolishness of which he had been guilty. You telephoned to the Semiramis, of course, said Hanno cheerfully. Caledine grew red. Yes, he stammered. Yet I did not hear that volume of hellos, which precedes a telephonic connection in your country of leisure. Hanno continued. I telephoned from my bedroom. You could not hear anything in this room. Yes, yes, the walls of these old houses are solid. Hanno was playing with his victim. And when may we expect, Miss Garou? Well, I can't say, replied Caledine. It's very strange. She is not in the hotel. I am afraid that she's gone away, fled. Mr. Ricardo and Hanno exchanged a look. They were both satisfied now. There was no word of truth in Caledine's story. Then there is no reason for us to wait, said Hanno. I shall have my holiday after all. And while he was yet speaking, the voice of a news boy, calling out the first edition of an evening paper, became distantly audible. Hanno broke off his farewell. For a moment he listened with his head bent. Then the voice was heard again, confused and distinct. Hanno picked up his hat and cane, and without another word to Caledine, raced down the stairs. Mr. Ricardo followed him. But when he reached the pavement, Hanno was half down the little street. At the corner, however, he stopped, and Ricardo joined him, coughing and out of breath. What's the matter, he gasped. Listen, said Hanno. At the bottom of Duke Street, by Charing Cross Station, the news boy was shouting his wares. Both men listened, and now the words came to them, mispronounced, but decipherable. Mysterious grime at the Zamirame's hotel. Ricardo stared at his companion. You were wrong then, he cried. Caledine's story was true. For once, in a ways, Hanno was quite disconcerted. I don't know yet, he said. We will buy a paper. But before he could move a step, a taxi cab turned into the Adelphi from the Strand, and wheeling in front of their faces, stopped at Caledine's door. From the cab, a girl descended. Let us go back, said Hanno. End of Part Two Part Three of the Affair at the Zamirame's Hotel by A. E. W. Mason This liverbox recording is in the public domain. Part Three Mr. Ricardo could no longer complain. It was half past eight when Caledine had first disturbed the formalities of his house in Groegner Square. It was barely ten now, and during that short time he had been flung from surprise to surprise. He had looked underground on a morning of fresh summer, and had been thrilled by the contrast between the queer sinister life below, and within, and the open call to joy of the green world above. He had passed from incredulity to belief, from belief to incredulity, and when at last incredulity was firmly established, and the story to which he had listened proved the emanation of a drugged and heated brain, lo the facts buffeted him in the face, and the story was shown to be true. I am alive once more, Mr. Ricardo thought, as he turned back with Hanno, and in his excitement he cried his thought aloud. Are you, said Hanno, and what is life without a newspaper? If you will buy one from that remarkably raucous boy at the bottom of the street, I will keep an eye upon Calady's house till you come back. Mr. Ricardo spread down to Charing Cross and brought back a copy of the fourth edition of the Star. He handed it to Hanno, who stared at it doubtfully, folded as it was. Shall we see what it says? Ricardo asked impatiently. By no means, Hanno answered, waking from his reverie, tucking briskly away the paper into the tail pocket of his coat. We will hear what Miss Joan Caru has to say, with our minds undisturbed by any discoveries. I was wondering about something totally different. Yes, Mr. Ricardo encouraged him. What was it? I was wondering, since it is only ten o'clock, at what hour the first editions of the evening papers appear. It is a question, Mr. Ricardo replied desentitiously, which the greatest minds have failed to answer. And they walked along the street to the house. The front door stood open during the day, like the front door of any other house, which is let off in sets of rooms. Hanno and Ricardo went up the staircase and rang the bell of Caledine's door. A middle-aged woman opened it. Mr. Caledine is in, said Hanno. I will ask, replied the woman, what name shall I say? It does not matter. I will go straight in, said Hanno quietly. I was here with my friend about a minute ago. He went straight forward and into Caledine's parlor. Mr. Ricardo looked over his shoulder as he opened the door, and saw a girl turn to them suddenly, a white face of terror, and flinch as though already she felt the hand of a constable upon her shoulder. Caledine, on the other hand, uttered a cry of relief. These are my friends, he exclaimed to the girl, the friends of whom I spoke to you. And to Hanno he said, This is Miss Caru. Hanno, bowed. You shall tell me your story, mademoiselle, he said very gently, and a little color returned to the girl's cheeks. A little courage revived in her. But you have heard it, she answered. Not from you, said Hanno. So for a second time in that room she told the history of that night. Only this time the sunlight was warm upon the world. The comfortable sounds of life's routine were borne through the windows, and the girl herself wore the inconspicuous blue surge of a thousand other girls afoot that morning. These trifles of circumstance took the edge of sheer horror off her narrative, so that, to tell the truth, Mr. Ricardo was a trifle disappointed. He wanted a crescendo motive in his music, whereas it had begun at its fortissimo. Hanno, however, was the perfect listener. He listened without stirring, and with most compassionate eyes, so that Joan Caru spoke only to him, and to him, each moment that passed, with greater competence. The life and sparkle of her had gone altogether. There was nothing in her manner now to suggest the waywardness, the gay irresponsibility, the radiance, which had attracted Callity in the night before. She was just a very young and very pretty girl, telling in a low and remorseful voice of the tragic dilemma to which she had brought herself. Of Salamine, all that remained was something exquisite and fragile in her beauty, in the slimness of her figure, in her daintiness of hand and foot, something almost of the hot house. But the story she told was, detail for detail, the same which Calladine had already related. Thank you, said Hanno, when she had done. Now I must ask you two questions. I will answer them. Mr. Ricardo sat up. He began to think of a third question, which he might put himself, something uncommonly subtle and searching, which Hanno would never have thought of. But Hanno put his questions, and Ricardo almost jumped out of his chair. You will forgive me, Miss Caru, but have you ever stolen before? Joan Caru turned upon Hanno with spirit, then a change swept over her face. You have a right to ask, she answered, never. She looked into his eyes as she answered, Hanno did not move. He sat with a hand upon each knee, and led to his second question. Early this morning, when you left this room, you told Mr. Calladine that you would wait at the samuramis until he telephoned to you. Yes, yet when he telephoned you had gone out. Yes, why? I will tell you, said Joan Caru, I could not bear to keep the little diamond chain in my room. For a moment even Hanno was surprised. He had lost sight of that complication. Now he leaned forward anxiously, indeed with a greater anxiety than he had yet shown in all this affair. I was terrified, continued Joan Caru. I kept thinking, they must have found out by now. They will search everywhere. I didn't reason. I lay in bed, expecting to hear every moment aloud knocking on the door. Besides the chain itself being there in my bedroom, her chain, the dead woman's chain. No, I couldn't endure it. I felt as if I had stolen it, and then my maid brought in my tea. You had locked it away, cried Hanno? Yes, my maid did not see it. Joan Caru explained how she had risen, dressed, wrapped the chain in a pad of cotton wool, and enclosed it in an envelope. The envelope had not the stamp of the hotel upon it. It was a rather large envelope, one of a packet which she had bought in a crowded job in Oxford Street, on her way from Houston to the samuramis. She had bought the envelopes of that particular size in order that when she sent her letter of introduction to the director of the opera at Covent Garden, she might enclose with it a photograph. And to whom did you send it, asked Mr. Ricardo, to Mrs. Bloemestein at the samuramis. I printed the address carefully. Then I went out and posted it, where, Hanno inquired, in the big letter box of the post office at the corner of Trafalgar Square. Hanno looked at the girl sharply. You had your wits about you, I see, he said. What if the envelope gets lost? said Ricardo. Hanno laughed grimly. If one envelope is delivered at its address in London today, it will be that one, he said. The news of the crime is published, you see. And he swung round to Joan. Did you know that, Ms. Caru? No. She answered in an awestruck voice. Well, then it is. Let us see what the special investigator has to say about it. And Hanno, with a deliberation which Mr. Ricardo found quite excruciating, spread out the newspaper on the table in front of him. Four. There was only one new fact in the couple of columns devoted to the mystery. Mrs. Bloemestein had died from chloroform poisoning. She was of a stout habit, and the thieves were not skilled in the administration of the anesthetic. Its murder nonetheless, said Hanno, and he gazed straight at Joan, asking her by the direct summons of his eye what she was going to do. I must tell my story to the police, she replied painfully and slowly, but she did not hesitate. She was announcing a meditated plan. Hanno neither agreed nor differed. His face was blank, and when he spoke, there was no cordiality in his voice. Well, he asked, and what is it that you have to say to the police, Ms., that you went into the room to steal and that you were attacked by two strangers, dressed as apaches and masks? That is all? Yes. And how many men at the Semiramis ball were dressed as apaches and wore masks? Come, make a guess. A hundred, at the least? I should think so. Then what will your confession do beyond, I quote your English idiom, putting you in the coach? Mr. Ricardo now smiled, with relief. Hanno was taking a definite line. His knowledge of idiomatic English might be incomplete, but his heart was in the right place. The girl traced a vague pattern on the tablecloth with her fingers. Yet I think I must tell the police, she repeated, looking up and dropping her eyes again. Mr. Ricardo noticed that her eyelashes were very long. For the first time, Hanno's face relaxed. And I think you are quite right. He cried heartily to Mr. Ricardo's surprise. Tell them the truth before they suspect it, and they will help you out of the affair, if they can. Not a doubt of it. Come, I will go with you myself to Scotland Yard. Thank you, said Joan, and the pair drove away in a cab together. Hanno returned to Grovener Square alone and lunched with Ricardo. It was all right, he said. The police were very kind. Miss Joan Caru told her sorry to them, as she had told it to us. Fortunately, the envelope with the aluminum chain had already been delivered, and was in their hands. They were much mystified about it, but Miss Joan's story gave them a reasonable explanation. I think they were inclined to believe her, and if she is speaking the truth, they will keep her out of the witness box, if they can. She is to stay here in London, then, asked Ricardo. Oh yes, she is not to go. She will present her letters at the opera house, and secure an engagement if she can. The criminals might be lulled thereby into a belief that the girl had kept the whole strange incident to herself, and that there was nowhere, even, a knowledge of the disguise which they had used. Hanno spoke as carelessly as if the matter were not very important, and Ricardo, with an unusual flash of shrewdness, said, It is clear, my friend, that you do not think those two men will ever be caught at all. Hanno shrugged his shoulders. There is always a chance, but listen. There is a room with a hundred guns, one of which is loaded. Outside the room, there are a hundred pigeons, one of which is white. You are taken into the room, blindfold. You choose the loaded gun, and you shoot the one white pigeon. That is the value of the chance. But, exclaimed Ricardo, those pearls were of great value, and I have heard at a trial expert evidence given by pearl merchants all agree that the pearls of great value are known. So when they come upon the market, that is true, Hanno interrupted imperturbably, but how are they known? By their weight, said Mr. Ricardo. Exactly, replied Hanno, but did you not also hear at this trial of yours that pearls can be peeled like an onion? No, it is true. Remove a skin, two skins, the weight is altered, the pearl is a trifle smaller. It has lost a little of its value, yes, but you can no longer identify it as the so-and-so pearl which belonged to this or that sultan, was stolen by the vizier of bought by Mezzer's Lustra and Stanopolis of Hattengarden, and subsequently sold to the wealthy Mrs. Blumenstein. No, your pearl has vanished altogether. There is a new pearl which can be traded. He looked at Ricardo, who shall say that those pearls are not already in one of the queer little back streets of Amsterdam undergoing their transformation. Mr. Ricardo was not persuaded because he would not be. I have some experience in these matters, he said loftily to Hanno. I am sure that we shall lay our hands upon the criminals. We have never failed. Hanno aggrinned from ear to ear. The only experience which Mr. Ricardo had ever had was gained on the shores of Geneva and at Eich under Hanno's tuition, but Hanno did not argue and there the matter rested. The days flew by. It was London's playtime. The green and gold of early summer deepened and darkened. Wondrous warm nights under England's pale blue sky, when the streets rang with the joyous feet of youth, led in clear dawns and lovely glowing days. Hanno made acquaintance with the wooded reaches of the Thames, Joan Caru sang Louise at Covent Garden with notable success, and the affair of the Semirames Hotel in the minds of the few who remembered it was already added to the long list of unfathomed mysteries. But towards the end of May there occurred a startling development. Joan Caru wrote to Mr. Ricardo that she would call upon him in the afternoon, and she begged him to secure the presence of Hanno. She came as the clock struck, she was pale and agitated, and in the room where Caledine had first told the story of her visit she told another story, which to Mr. Ricardo's thinking was yet more strange and, yes, yet more suspicious. It has been going on for some time, she began. I thought of coming to you at once, and then I wondered whether, if I waited, oh, you'll never believe me. Let us hear, said Hanno patiently. I began to dream of that room, the two men disguised and masked the still figure in the bed. Night after night I was terrified to go to sleep. I felt the hand upon my mouth. I used to catch myself falling asleep and walk about the room with all the lights up to keep myself awake. But you couldn't, said Hanno with a smile. Only the old can do that. No, I couldn't, she admitted, and oh, my nights were horrible, until—she paused and looked at her companion stoutfully—until one night the mask slipped. What? cried Hanno, and a note of sternness rang suddenly in his voice. What are you saying? With a desperate rush of words and the color staining her forehead and cheeks, Joan Caru continued. It's true, the mask slipped on the face of one of the men, of the man who held me. Only a little way, it just left his forehead visible. No more. Well, asked Hanno, and Mr. Ricardo leaned forward, swaying between the austerity of criticism and the desire to believe so thrilling a revelation. I waked up, the girl continued in the darkness, and for a moment the whole scene remained vividly with me, for just long enough for me to fix clearly in my mind the figure of the Apache with a white forehead showing above the mask. When was that, asked Ricardo? A fortnight ago. Why didn't you come with your story then? I waited, said Joan. What I had to tell wasn't yet helpful. I thought that another night the mask might slip lower still. Besides I—oh, it is difficult to describe just what I felt. I felt it important just to keep that photograph in my mind. Not to think about it, not to talk about it. Not even to look at it too often, lest I should begin to imagine the rest of the face and find something familiar in the man's carriage and shape when there was nothing really familiar to me at all. Do you understand that? she asked, with her eyes fixed in appeal on Hanno's face. Yes, replied Hanno, I follow your thought. I thought there was a chance now, the strangest chance, that the truth might be reached. I did not wish to spoil it, and she turned eagerly to Ricardo, as if having persuaded Hanno she would now turn her batteries on his companion. My whole point of view was changed. I was no longer afraid of falling asleep, lest I should dream. I wished to dream, but you could not, suggested Hanno. No, that is the truth, replied Joan Caru, whereas before I was anxious to keep awake and yet must sleep from sheer fatigue, now that I tried consciously to put myself to sleep, I remained awake all through the night, and only towards the morning, when the light was coming through the blinds, dropped off into a heavy, dreamless slumber. Hanno nodded. It is a very perverse world, Miss Caru, and things go by contraries. Ricardo listened for some note of irony in Hanno's voice, some look of disbelief in his face, but there was neither one nor the other. Hanno was listening patiently. Then came my rehearsals, Joan Caru continued, and that wonderful opera drove everything else out of my head. I had such a chance, if only I could make use of it. When I went to bed now, I went with that haunting music in my ears, the call of Paris. Oh, you must remember it, but can you realize what it must mean to a girl who's going to sing it for the first time in Covent Garden? Mr. Ricardo saw his opportunity. He, the connoisseur to whom the psychology of the green room was an open book, could answer that question. It is true, my friend, he informed Hanno with quiet authority. The great march of events leaves the artist cold. He lives aloof. While the tumbrels thundered in the streets, he adds a delicate tent to the picture he is engaged upon, or recalls his triumph in his last great part. Thank you, said Hanno gravely, and now, Ms. Caru, may perhaps resume her story. It was the very night of my debut, she continued. I had supper with some friends, a great artist, Carmen Valeri, honored me with her presence. I went home excited, and that night I dreamed again. Yes, this time the chin, the lips, the eyes were visible. There was only a black strip across the middle of the face, and I thought, nay, I was sure that if that strip vanished, I should know the man. And did it vanish? Three nights afterwards. And you did know the man? The girl's face became troubled. She frowned. I knew the face. That was all, she answered. I was disappointed. I had never spoken to the man. I am sure of that, still. But somewhere I have seen him. You don't even remember when? Ask Hanno. No, Junk Haru reflected for a moment with her eyes upon the carpet, and then flung up her head with a gesture of despair. No, I try all the time to remember, but it is no good. Mr. Ricardo could not restrain a movement of indignation. He was being played with. The girl, with her fantastic story, had worked him up to a real pitch of excitement, only to make a fool of him. All his earlier suspicions flowed back into his mind. What if, after all, she was implicated in the murder and the theft? What if, with a perverse cunning, she had told Hanno and himself just enough of what she knew, just enough of the truth, to persuade them to protect her? What if her frank confession of her own overpowering impulse to steal the necklace was nothing more than a subtle appeal to the sentimental bitty of men, an appeal based upon a wider knowledge of men's weaknesses than a girl of nineteen or twenty ought to have? Mr. Ricardo cleared his throat and sat forward in his chair. He was girding himself for a singularly searching interrogatory when Hanno asked the most irrelevant of questions. How did you pass the evening of that night when you first dreamed complete the face of your assailant? Joan Caru reflected, then her face cleared. I know, she exclaimed, I was at the opera. And what was being given? The jewels of the Madonna. Hanno nodded his head. To Ricardo it seemed that he had expected precisely that answer. Now, he continued, you are sure that you have seen this man? Yes. Very well, said Hanno. There is a game you play at children's parties, is there not? Animal, vegetable, or mineral, and always you get the answer. Let us play that game for a few minutes, you and I. Joan Caru drew up her chair to the table and sat with her chin, propped upon her hands, and her eyes fixed on Hanno's face. As he put each question, she pondered on it and answered. If she answered doubtfully, he pressed it. You crossed on the Lucania from New York? Yes. Picture to yourself the dining room, the tables. You have the picture quite clear? Yes. Was it at breakfast that you saw him? No. At luncheon? No. At dinner? She paused for a moment, summoning before her eyes the travelers at the tables. No. Not in the dining table at all then? No. In the library, when you were writing letters, did you not one day lift your head and see him? No. On the promenade deck, did he pass you when you sat in your deck chair? Or did you pass him when he sat in his chair? No. Step by step Hanno took her back to New York, to her hotel, to journeys in the train. Then he carried her to Milan, where she had studied. It was extraordinary to Ricardo to realize how much Hanno knew of the curriculum of a student aspiring to grand opera. From Milan he brought her again to New York, and at the last, with a start of joy, she cried, yes, it was there! Hanno took his handkerchief from his pocket and wiped his forehead. He grunted, to concentrate the mind on a day like this, it makes one hot, I can tell you. Now, Miss Caru, let us hear. It was at a concert at the house of a Mrs. Starlingsfield in Fifth Avenue, and in the afternoon. Joan Caru sang, she was a stranger to New York and very nervous. She saw nothing but a mist of faces while she sang. But when she had finished, the mist cleared, and as she left the improvised stage, she saw the man. He was standing against the wall in a line of men. There was no particular reason why her eyes should single him out, except that he was paying no attention to her singing, and, indeed, she forgot him altogether afterwards. I just happened to see him clearly and distinctly, she said. He was tall, clean-shaven, rather dark, not particularly young, thirty-five or so, I should say, a man with a heavy face and beginning to grossed out. He moved away whilst I was bowing to the audience, and I noticed him afterwards walking about talking to people. Do you remember to whom? No. Did he notice you, do you think? I am sure he didn't, the girl replied emphatically. He never looked at the stage where I was singing, and he never looked towards me afterwards. END OF PART THREE PART FOUR OF THE AFFAIR AT THE CIMARAMES HOTEL by A. E. W. Mason This LibriVox recording is in the public domain. PART FOUR She gave, so far as she could remember, the names of such guests and singers as she knew at that party. And that is all, she said. Thank you, said Hano, it is perhaps a good deal, but it is perhaps nothing at all. You will let me hear from you, she cried as she rose to her feet. Miss Carew, I am at your service, he returned. She gave him her hand timidly, and he took it cordially. For Mr. Ricardo she had merely a bow, a bow which recognized that he distrusted her, and that she had no right to be offended. Then she went, and A. No smiled across the table at Ricardo. Yes, he said, all that you are thinking is true enough. A man who slips out of society to indulge a passion for a drug in greater peace. A girl who on her own confession tried to steal and to crown all this fantastic story. It is natural to disbelieve every word of it. But we disbelieved before when we left Galladine's lodging in the Adelphi, and we were wrong. Let us be warned. You have an idea, exclaimed Ricardo. Perhaps, said Hano, and he looked down the theater column of the Times, let us distract ourselves by going to the theater. You are the most irritating man, Mr. Ricardo broke out impulsively. If I had to paint your portrait I should paint you with your finger against the side of your nose, saying mysteriously, I know, when you know nothing at all. Hano made a schoolboy's grimace. We will go and sit in your box at the opera tonight, he said, and you shall explain to me all through the beautiful music the theory of the tonic sofa. They reached Covent Garden before the curtain rose. Mr. Ricardo's box was on the lowest tier and next to the omnibus box. We are near the stage, said Hano, as he took his seed in the corner and so arranged the curtain that he could see and yet was hidden from view. I like that. The theater was full, stalls and boxes shimmered with jewels and satin and all that was famous that season for beauty and distinction had made its trist there that night. Yes, this is wonderful, said Hano. What opera do they play? He glanced at his program and cried with a little start of surprise. We are in luck. It is the jewels of the Madonna. Do you believe in omens? Mr. Ricardo asked coldly. He had not yet recovered from his rebuph of the afternoon. No, but I believe that Carmen Valeri is at her best in this part, said Hano. Mr. Ricardo belonged to that body of critics which must need spoiled your enjoyment by comparisons and recollections of other great artists. He was at a disadvantage, certainly, tonight, for the opera was new, but he did his best. He imagined others in the part, and when the great scene came at the end of the second act, and Carmen Valeri, on obtaining from her lover the jewel stolen from the sacred image, gave such a display of passion, as fairly enthralled that audience, Mr. Ricardo sighed quietly and patiently. How Calvet could have brought out the psychological value of that scene, he murmured, and he was quite vexed with Hano, who sat with his opera-glasses held to his eyes and every sense apparently concentrated on the stage. The curtains rose and rose again when the act was concluded, and still Hano sat motionless as the sphinx, staring through his glasses. That is all, said Ricardo, when the curtain fell for the fifth time. They will come out, said Hano, wait, and from between the curtains Carmen Valeri was led out into the full glare of the footlights with the panoply of jewels flashing on her breast. Then at last Hano put down his glasses and turned to Ricardo with a look of exultation and genuine delight upon his face which filled that season-worn dilettant with envy. What a night, said Hano, what a wonderful night, and he applauded until he split his gloves. At the end of the opera he cried, we will go and take supper at the samuramis. Yes, my friend, we will finish our evening like gallant gentlemen. Come, let us not think of the morning. And boisterously he slapped Ricardo in the small of the back. In spite of his boast, however, Hano hardly touched his supper, and he played with, rather than drank, his brandy and soda. He had a little table to which he was accustomed beside a glass screen in the depths of the room, and he sat with his back to the wall, watching the groups which poured in. Suddenly his face lighted up. Here is Carmen Valeri. He cried, once more we are in luck. Is it not that she is beautiful? Mr. Ricardo turned languidly about in his chair and put up his eyeglass. So-so, he said. Returned Hano, then her companion will interest you still more, for he is the man who murdered Mrs. Blumenstein. Mr. Ricardo jumped so that his eyeglass fell down and tinkled on its cord against the buttons of his waistcoat. What, he exclaimed, it's impossible! He looked again. Certainly the man fits Joan Carouse's description, but he turned back to Hano, utterly astounded, and as he looked at the Frenchman, all his earlier recollections of him, of his swift deductions of the subtle imagination which his heavy body so well concealed, crowded in upon Ricardo, and convinced him. How long have you known, he asked in a whisper of awe, since ten o'clock tonight. But you will have to find the necklace before you can prove it. The necklace, said Hano carelessly, that is already found. Mr. Ricardo had been longing for a thrill. He had it now. He felt it in his very spine. Is found, he said in a startled whisper. Yes, Ricardo turned again with as much indifference as he could assume towards the couple who were settling down at their table. The man with a surly indifference, Carmen Belleri with the radiance of a woman who has just achieved a triumph and is now free to enjoy the fruits of it. Confusedly, recollections returned to Ricardo of questions put that afternoon by Hano to Joan Carouse. Subtle questions into which the name of Carmen Belleri was continually entering. She was a woman of thirty, certainly beautiful, with a clear pale face and eyes like the night. Then she is implicated too, he said. What a change for her, he thought, from the stage of Gavagarden to the felons' cell from the gay supper room of the Semiramis with its bright frocks and its babble of laughter to the silence and the ignominious garb of the work rooms in Alsbury prison. She, exclaimed Hano, and in his passion for the contrasts of drama, Ricardo was almost disappointed. She has nothing whatever to do with it. She knows nothing. Andre Favat, there, yes, but Carmen Belleri, she's as stupid as an owl and loves him beyond words. Do you want to know how stupid she is? You shall know. I asked Mr. Clements, the director of the opera house, to take supper with us and here he is. Hano stood up and shook hands with the director. He was of the world of business rather than of art and long experience of the ways of dinners and prima donnas had given him a good, humored cynicism. They are spoiled children, old tantrums and vanity, he said, and they would ruin you to keep a rival out of the theatre. He told them anecdote upon anecdote. And Carmen Belleri, Hano asked in a pause, is she troublesome this season? As been, replied Clements dryly, at present she is playing at being good. But she gave me a turn some weeks ago. He turned to Ricardo. Superstitions, her trouble, and Andre Favat knows that she left him behind in America this spring. America, suddenly cried Ricardo, so suddenly that Clements looked at him in surprise. She was singing in New York, of course, during the winter he returned. Well, she left him behind, and I was shaking hands with myself when he began to deal the cards over there. She came to me in a panic. She had just had a cable. She couldn't sing on Friday night. There was a black nave next to the nine of diamonds. She couldn't sing for worlds. And it was the first night of the jewels of the Madonna. Imagine the fix I was in. What did you do? asked Ricardo. The only thing there was to do, replied Clements with a shrug of the shoulders. I cabled Favat's a money, and he dealt the cards again. She came to me, a beaming. Oh, she had been so distressed to put me in the cart. But what could she do? Now there was a red queen next to the ace of hearts. So she could sing without a scruple so long, of course, as she didn't pass a funeral on the way down to the opera house. Luckily, she did not. But my money brought Favat over here, and now I'm living on a volcano, for he's the greatest scoundrel unhung. He never has a farthing, however much she gives him. He's a blackmailer. He's a swindler. He has no manners and no graces. He looks like a butcher and treats her as if she were dirt. He never goes near the opera, except when she is singing in this part, and she worships the ground he walks on. Well, I suppose it's time to go. The lights had been turned off. The great room was emptying. Mr. Ricardo and his friends rose to go. But at the door Hanoe detained Mr. Clements, and they talked together alone for some little while, greatly to Mr. Ricardo's annoyance. Hanoe's good humor, however, when he rejoined his friend, was enough for two. I apologize, my friend, with my hand on my heart, for it was for your sake that I stayed behind. You have a meretricious taste for melodrama, which I deeply deplore, but which I mean to gratify. I ought to leave for Paris tomorrow, but I shall not. I shall stay until Thursday, and he skipped upon the pavement as they walked home to Grovener Square. Mr. Ricardo bubbled with questions, but he knew his man. He would get no answer to any one of them tonight. So he worked out the problem for himself as he lay awake in his bed, and he came down to breakfast next morning fatigued but triumphant. Hanoe was already chipping off the top of his egg at the table. So I see you have found it all out, my friend, he said. Not all, replied Ricardo modestly, and you will not mind, I'm sure, if I follow the usual custom and wish you a good morning. Not at all, said Hanoe. I am all for good manners myself. He dipped his spoon into his egg, but I'm longing to hear the line of your reasoning. Mr. Ricardo did not need much pressing. Joan Caru saw Andre Favett at Mrs. Starling-Jewel's party, and saw him with Carmen Valeri, for Carmen Valeri was there. I remember that you asked Joan for the names of the artists who sang, and Carmen Valeri was amongst them. Hanoe nodded his head. Exactly. No doubt, Joan Caru noticed Carmen Valeri particularly, and so took unconsciously into her mind an impression of the man who was with her, Andre Favett, of his build, of his walk, of his type. Again, Hanoe agreed. She forgets the man altogether, but the picture remains latent in her mind, an undeveloped film. Hanoe looked up in surprise, and the surprise flattered Mr. Ricardo. Not for nothing had he tossed about in his bed for the greater part of the night. Then came the tragic night at the Cimaramis. She does not consciously recognize her assailant, but she dreams the scene again and again, and by a process of unconscious celebration, the figure of the man becomes familiar. Finally, she makes her debut, is entertained at supper afterwards, and meets once more Carmen Valeri. Yes, for the first time since Mrs. Starling-Jewels' party, interjected Hanoe. She dreams again. She remembers asleep more than she remembers when awake. The presence of Carmen Valeri at her supper party has its effect. By a process of association, she recalls Favett and the mask slips on the face of her assailant. Some days later she goes to the opera. She hears Carmen Valeri sing in the jewels of the Madonna. No doubt the passion of her acting, which I am more prepared to acknowledge this morning than I was last night, affects Jean-Carrou powerfully, emotionally. She goes to bed with her head full of Carmen Valeri, and she dreams not of Carmen Valeri, but of the man who is unconsciously associated with Carmen Valeri in her thoughts. The mask vanishes altogether. She sees her assailant now, has his portrait limbed in her mind. Would know him as she met him in the street, though she does not know by what means she identified him. Yes, said Hanoe, it is curious, the brain working while the body sleeps, the dream revealing what thought cannot recall. Mr. Ricardo was delighted. He was taken seriously. But of course he said I could not have worked the problem out, but for you, you knew of Andre Favett and the kind of man he was. Hanoe laughed. Yes, that is always my one little advantage. I know all the cosmopolitan blackguards of Europe. His laughter ceased suddenly, and he brought his clenched fist heavily down upon the table. Here is one of them who will be very well out of the world, my friend. He said very quietly, but there was a look of force in his face and a hard light in his eyes which made Mr. Ricardo shiver. For a few moments there was silence. Then Ricardo asked, but have you evidence enough? Yes. Your two chief witnesses, Caledin and Joan Coru, you said it yourself. There are facts to discredit them. Will they be believed? But they won't appear in the case at all, Hanoe said. Wait, wait, and once more he smiled. By the way, what is the number of Caledin's house? Ricardo gave it, and Hanoe therefore wrote a letter. It is all for your sake, my friend, he said with a chuckle. Nonsense, said Ricardo. You have the spirit of the theatre in your bones. Well, I shall not deny it, said Hanoe, and he sent out the letter to the nearest pillar box. Mr. Ricardo waited in a fever of impatience until Thursday came. At breakfast Hanoe would talk of nothing but the news of the day. At luncheon he was no better. The affair of the Simiramis Hotel seemed a thousand miles from any of his thoughts. But at five o'clock he said as he drank his tea, you know, of course, that we go to the opera tonight. Yes, do we? Yes, your young friend Caledin, by the way, will join us in your box. That is a very kind of him, I am sure, said Mr. Ricardo. The two men arrived before the rising of the curtain, and in the crowded lobby a stranger spoke a few words to Hanoe, but what he said Ricardo could not hear. They took their seats in the box and Hanoe looked at his program. Ah, it is il ballo d'amassiera tonight. We always seem to hear it upon something appropriate, don't we? Then he raised his eyebrows. Ho, ho, ho, do you see that our pretty young friend, Joan Caru, is singing in the role of the page. It is a showy part. There is a particular melody with a long sustained drill in it, as far as I remember. Mr. Ricardo was not deceived by Hanoe's apparent ignorance of the opera to be given that night, and of the part Joan Caru was to take. He was therefore not surprised when Hanoe added, by the way, I should let Caledin find it all out for himself. Mr. Ricardo nodded sagely. Yes, that is wise. I had thought of it myself, but he had done nothing of the kind. He was only aware that the elaborate stage management, in which Hanoe delighted, was working out to the desired climax, whatever that climax might be. Caledin entered the box a few minutes later and shook hands with them awkwardly. It was kind of you to invite me, he said, and very ill at ease, he took a seat between them and concentrated his attention on the house as it filled up. There's the overture, said Hanoe. The curtains divided and were festooned on either side of the stage. The singers came on in their turn. The page appeared to a burst of delicate applause. Joan Caru had made a small name for herself that season, and with a stifled cry Caledin shot back in the box as if he had been struck. Even then Mr. Ricardo did not understand. He only realized that Joan Caru was looking extraordinarily trim and smart in her boy's dress. He had to look from his program to the stage and back again several times before the reason of Caledin's exclamation dawned on him. When it did he was horrified. Hanoe, in his craving for dramatic effects, must have lost his head altogether. Joan Caru was wearing from the ribbon in her hair to the scarlet heels of her buckled satin shoes, the same dress as she had worn on the tragic night at the Semiramis Hotel. He leaned forward in his agitation to Hanoe. You must be mad. Suppose Fabat is in the theater and sees her. He'll be over on the continent by one in the morning. No, he won't, replied Hanoe. For one thing he never comes to Covent Garden unless one opera with Carmen Valeri in the chief part is being played, as you heard the other night at supper. For a second thing he isn't in the house. I know where he is. He is gambling in Dean Street Soho. For a third thing, my friend, he couldn't leave by the nine o'clock train for the continent if he wanted to. Arrangements have been made. For a fourth thing, he wouldn't wish to. He has really remarkable reasons for desiring to stay in London. But he will come to the theater later. Clements will send him an urgent message with the result that he will go straight to Clements office. Meanwhile, we can enjoy ourselves, huh? Never was the difference between the amateur de la Tante and the genuine professional, more clearly exhibited than by the behavior of the two men during the rest of the performance. Mr. Ricardo might have been sitting on a coal fire from his jumps and twistings. Hanoe stolidly enjoyed the music and when Joan Caru sang her famous solo, his hands clamored for an encore louder than anyone's in the boxes. Certainly, whether excitement was keeping her up or no, Joan Caru had never sung better in her life. Her voice was clear and fresh as a bird, a bird with a soul, inspiring its song. Ivan Caledin drew his chair forward again and sat with his eyes fixed upon the stage and quite carried out of himself. He drew a deep breath at the end. She is wonderful, he said, like a man waking up. She is very good, replied Mr. Ricardo, correcting Caledin's transports. We will go round to the back of the stage, said Hanoe. They passed through the iron door and across the stage to a long corridor with a row of doors on one side. There were two or three men standing about in evening dress as if waiting for friends in the dressing rooms. At the third door, Hanoe stopped and knocked. The door was opened by Joan Caru, still dressed in her green and gold. Her face was troubled, her eyes afraid. Courage, little one, said Hanoe, and he slipped past her into the room. It is as well that my ugly familiar face should not be seen too soon. The door closed and one of the strangers loitered along the corridor and spoke to a callboy. The callboy ran off. For five minutes more, Mr. Ricardo waited with a beating heart. He had the joy of a man in the center of things, all those people driving onwards in their motor cars along the strand, how he pitted them. Then, at the end of the corridor, he saw Clements and Andre Favett. They approached, discussing the possibility of Carmen Valeri's appearance in London Opera during the next season. We have to look ahead, my dear friend, said Clements, and though I should be extremely sorry, at that moment they were exactly opposite Joan Caru's door. It opened, she came out. With a nervous movement, she shut the door behind her. At the sound, Andre Favett turned, and he saw, drawn up against the panels of the door, with a look of terror in her face, the same gay figure which had interrupted him in Mrs. Blumenstein's bedroom. There was no need for Joan to act. In the presence of this man, her fear was as real as it had been on the night of the Cimarame's fall. She trembled from head to foot. Her eyes closed. She seemed about to swoon. Favett stared and uttered an oath. His face turned white. He staggered back as if he had seen a ghost. Then he made a wild dash along the corridor and was seized and held by two of the men in evening dress. Favett recovered his wits. He ceased to struggle. What does this outrage mean? He asked, and one of the men drew a warrant and notebook from his pocket. You are arrested for the murder of Mrs. Blumenstein in the Cimarame's hotel, he said, and I have to warn you that anything you may say will be taken down and may be used in evidence against you. Prap, hoster us, exclaimed Favett. There's a mistake. We will go along to the police and put it right. Where's your evidence against me? Hanno stepped out of the doorway of the dressing room. In the property room of the theatre, he said. At the side of him Favett uttered a violent cry of rage. You are here too, are you? He screamed and he sprang at Hanno's throat. Hanno stepped lightly aside. Favett was born down to the ground and when he stood up again the handcuffs were on his wrists. Favett was led away and Hanno turned to Mr. Ricardo and Clements. Let us go to the property room, he said. They passed along the corridor and Ricardo noticed that Caledine was no longer with them. He turned and saw him standing outside Joan Caru's dressing room. He would like to come, of course, said Ricardo. Would he? said Hanno. Then why doesn't he? He's quite grown up, you know. And he slipped his arm through Ricardo's and led him back across the stage. In the property room there was already a detective in plain clothes. Mr. Ricardo had still not as yet guessed the truth. What is it you really want, sir? The property master asked of the director. Only the jewels of the Madonna, Hanno answered. The property master unlocked a cupboard and took from it the sparkling curace. Hanno pointed to it and there lost amongst the huge glittering stones of paste and false pearls, Mrs. Blumstein's necklace was entwined. Then that is why Favett came always to Covent Garden when the jewels of the Madonna was being performed, explained Ricardo. Hanno nodded. He came to watch over his treasure. Ricardo was piecing together the sections of the puzzle. No doubt he knew of the necklace in America. No doubt he followed it to England. Hanno agreed. Mrs. Blumstein's jewels were quite famous in New York. But to hide them here, cried Mr. Clemets, he must have been mad. Why, asked Hanno, can you imagine a safer hiding place? Who's going to burgle the property room of Covent Garden? Who's going to look for a priceless string of pearls amongst the stage jewels of an opera house? You did, said Mr. Ricardo. I replied Hanno, shrugging his shoulders. Joan Carouse's dreams led me to Andre Favett. The first time we came here and saw the pearls of the Madonna, I was on the lookout naturally. I noticed Favett at the back of the stalls. But it was a stroke of luck that I noticed those pearls through my opera glasses. At the end of the second act, cried Ricardo suddenly. I remember now. Yes, replied Hanno. But for that second act, the pearls would have stayed comfortably here all through the season. Karma Valeri, a fool, as I told you, would have tossed them about in her dressing room without a notion of their value. And at the end of July, when the murderer at the Cimaramis Hotel had been forgotten, Favett would have taken them to Amsterdam and made his bargain. Shall we go? They left the theatre together and walked down to the grill room of the Cimaramis. But as Hanno looked through the glass door, he drew back. We will not go in, I think. Ah, why? asked Ricardo. Hanno pointed to a table. Caledin and Joan Carreux were seated at it, taking their supper. Perhaps said Hanno with a smile. Perhaps, my friend, what? Who shall say that the rooms at the Adelphi will not be given up? They turned away from the hotel. But Hanno was right, and before the season was over, Mr. Ricardo had to put his hand in his pocket for a wedding present. End of Part 4, End of the Affair at the Cimaramis Hotel by A. E. W. Mason