The Matador of the Five Towns and Other Stories - Arnold Bennett (simple e reader .TXT) 📗

Mr Loggerheads has accepted?" Mary demanded.

"Yes," said Eva.

"Well," said Mary, "it's not true!... A mistake!" she added.

"How do you know it isn't true?" Mr Morfe inquired doubtfully.

"Since you're so curious," said Mary, defiantly, "Mr Loggerheads told me himself."

"When?"

"The other day."

"You never said anything to me," protested Mr Morfe.

"It didn't occur to me," Mary replied.

"Well, I'm very glad!" remarked Eva Harracles. "But I thought I ought to let you know at once what was being said."

Mary Morfe's expression conveyed the fact that in her opinion Eva Harracles' evening call was a vain thing, too lightly undertaken, and conceivably lacking in the nicest discretion. Whereupon Mr Morfe was evidently struck by the advisability of completely changing the subject. And he did change it. He began to talk about certain difficulties in the choral parts of Havergal Brian's _Vision of Cleopatra_, a work which he meant the Bursley Glee and Madrigal Club to perform though it should perish in the attempt. Growing excited, in his dry way, concerning the merits of this composition, he rose from his easy chair and went to search for it. Before doing so he looked at the clock, which indicated twenty minutes past nine.

"Am I all right for time?" asked Eva.

"Yes, you're all right," said he. "If you go when that clock strikes half-past, and take the next car down, you'll make the connection easily at Turnhill. I'll put you into the car."

"Oh, thanks!" said Eva.

Mr Morfe kept his modern choral music beneath a broad seat under the bow window. The music was concealed by a low curtain that ran on a rod--the ingenious device of Mary. He stooped down to find the _Vision of Cleopatra_, and at first he could not find it. Mary walked towards that end of the drawing-room with a vague notion of helping him, and then Eva did the same, and then Mary walked back, and then Mr Morfe happily put his hand on the _Vision of Cleopatra_.

He opened the score for Eva's inspection, and began to hum passages and to point out others, and Eva also began to hum, and they hummed in concert, at intervals exclaiming against the wantonness with which Havergal Brian had invented difficulties. Eva glanced at the clock.

"You're all right," Mr Morfe assured her somewhat impatiently. And he, too, glanced at the clock: "You've still nearly ten minutes."

And proceeded with his critical and explanatory comments on the _Vision of Cleopatra_.

He was capable of becoming almost delirious about music. Mary Morfe had seated herself in silence.

At last Eva and Mr Morfe approached the fire and the mantelpiece again. Mr Morfe shut up the score, dismissed his delirium, and looked at the clock, quite prepared to see it pointing to twenty-nine and a half minutes past nine. Instead, the clock pointed to only twenty-two minutes past nine.

"By Jove!" he exclaimed. He went nearer.

"By Jove!" he exclaimed again rather more loudly. "I do believe that clock's stopped!"

It had. The pendulum hung perpendicular, motionless, dead.

He was astounded. For the clock had never been known to stop. It was a presentation clock, of the highest guaranteed quality, offered to him as a small token of regard and esteem by the members of the Bursley Orpheus Glee and Madrigal Club to celebrate the twelfth anniversary of his felicitous connection with the said society. It had stood on his mantelpiece for four years and had earned an absolutely first-class reputation for itself. He wound it up on the last day of every month, for it was a thirty-odd day clock, specially made by a famous local expert; and he had not known it to vary more than ten minutes a month at the most. And lo! it had stopped in the very middle of the month.

"Did you wind it up last time?" asked Mary.

"Of course," he snapped. He had taken out his watch and was gazing at it. He turned to Eva. "It's twenty to ten," he said. "You've missed your connection at Turnhill--that's a certainty. I'm very sorry."

Obviously there was only one course open to a gallant man whose clock was to blame: namely, to accompany Eva Harracles to Turnhill by car, to accompany her on foot to Silverhays, then to walk back to Turnhill and come home again by car. A young woman could not be expected to perform that bleak and perhaps dangerous journey from Turnhill to Silverhays alone after ten o'clock at night in November. Such was the clear course. But he dared scarcely suggest it. He dared scarcely suggest it because of his sister. He was afraid of Mary. The names of Richard Morfe and Eva Harracles had already been coupled in the mouth of gossip. And naturally Eva Harracles herself could not suggest that Richard should sally out and leave his sister alone on this night specially devoted to sisterliness and brotherliness. And of course, Eva thought, Mary will never, never suggest it.

But Eva was wrong there.

To the amazement of both Richard and Eva, Mary calmly said:

"Well, Dick, the least you can do now is to see Miss Harracles home. You'll easily be able to catch the last car back from Turnhill if you start at once. I daresay I shall go to bed."

And in three minutes Richard Morfe and Eva Harracles were being sped into the night by Mary Morfe.

The Morfes' house was at the corner of Trafalgar Road and Beech Street. The cars stopped at that corner in their wild course towards the town and towards Turnhill. A car was just coming. But instead of waiting for it Richard Morfe and Eva Harracles deliberately turned their backs on Trafalgar Road, and hurried side by side down Beech Street. Beech Street is a short street, and ends in a nondescript unlighted waste patch of ground. They arrived in the gloom of this patch, safe from all human inquisitiveness, and then Richard Morfe warmly kissed Eva Harracles in the mathematical centre of those lips of hers. And Eva Harracles showed no resentment of any kind, nor even shame. Yet she had been very carefully brought up. The sight would have interested Bursley immensely; it would have appealed strongly to Bursley's strong sense of the piquant.... That dry old stick Dick Morfe kissing one of his contraltos in the dark at the bottom end of Beech Street.

"Then you hadn't told her!" murmured Eva Harracles.

"No!" said Richard, with a slight hesitation. "I was just going to begin to tell her when you called."

Another woman might have pouted to learn that her lover had exhibited even a little cowardice in informing his family that he was engaged to be married. But Eva did not pout. She comprehended the situation, and the psychology of the relations between brothers and sisters. (She herself possessed both brothers and sisters.) All the courting had been singularly secret and odd.

"I shall tell her to-morrow morning at breakfast," said Richard, firmly. "Unless, after all, she isn't gone to bed when I get back."

By a common impulse they now returned towards Trafalgar Road.

"I say," said Richard, "what made you call?"

"I was passing," said the beloved. "And somehow I couldn't help it. Of course, I knew it wasn't true about Mr Loggerheads. But I had to think of something."

Richard was in ecstasy; had never been in such ecstasy.

"I say," he said again. "I suppose _you_ didn't put your finger against the pendulum of that clock?"

"Oh, _no_!" she replied with emphasis.

"Well, I'm jolly glad it did stop, anyway," said Richard. "What a lark, eh?"

She agreed that the lark was ideal. They walked down the road till a car should overtake them.

"Do you think she suspects anything?" Eva asked.

"I'll swear she doesn't," said Richard, positively. "It'll be a bit of a startler for the old girl."

"No doubt you've heard," said Eva, haltingly, "that Mr Loggerheads has cast eyes on Mary."

"And do you think there's anything _in_ that?" Richard questioned sharply.

"Well," she said, "I really don't know." Meaning that she decidedly thought that Mary _had_ been encouraging advances from Mr Loggerheads.

"Well," said Richard, superiorly, "you may just take it from me that there's nothing in it at all.... Ha!" He laughed shortly. He knew Mary.

Then they got on a car, and tried to behave as though their being together was a mere accident, as though they had not become engaged to one another within the previous twenty-four hours.


II


Immediately after the departure of Richard Morfe and Eva Harracles, his betrothed, from the front door of the former, Mr Simon Loggerheads arrived at the same front door, and rang thereat, and was a little surprised, and also a little unnerved, when the door opened instantly, as if by magic. Mr Simon Loggerheads said to himself, as he saw the door move on its hinges, that Miss Morfe must have discovered a treasure of a servant who, when she had nothing else to do, spent her time on the inner door-mat waiting to admit possible visitors--even on Friday night. Nevertheless, Mr Simon Loggerheads regretted that prompt opening, as one regrets the prompt opening of the door of a dentist.

And it was no servant who stood in front of him, under the flickering beam of the lobby-lamp. It was Mary Morfe herself. The simple explanation was that she had just sped her brother and Eva Harracles, and had remained in the lobby for the purpose of ascertaining by means of her finger whether the servant had, as usual, forgotten to dust the tops of the picture-frames.

"Oh!" said Mr Loggerheads, when he saw Mary Morfe. For the cashier of the Bursley branch of the Birmingham and Sheffield Bank it was not a very able speech, but it was all he could accomplish.

And Miss Mary Morfe said:

"Oh!"

She was thirty-eight, and he was quite that (for the Bank mentioned does not elevate its men to the august situation of cashier under less than twenty years' service), and yet they neither of them had enough worldliness to behave in a reasonable manner. Then Miss Morfe, to whom it did at last occur that something must be done, produced an invitation:

"Do come in!" And she added, "Richard has just gone out."

"Oh!" commented Mr Simon Loggerheads again. (After all, it must be admitted that tenors as a class have never been noted for their conversational powers.) But he was obviously more at ease, and he went in, and Mary Morfe shut the door. At this very instant her brother and Eva were in secret converse at the back end of Beech Street.

"Do take your coat off!" Mary suggested to Simon. Simultaneously the servant appeared at the kitchen extremity of the lobby, and Mary thrust her out of sight again with the cold words: "It's all right, Susan."

Mr Loggerheads took his coat off, and Mary Morfe watched him as he did so.

He made a pretty figure. He was something of a dandy. The lapels of the overcoat would have showed that, not to mention the correctly severe necktie. All his clothes, in fact, had "cut and style," even to his boots. In the Five Towns many a young man is a dandy down to the edge of his trousers, but not down to the ground. Mr Loggerheads looked a young man. The tranquillity of his career and the quietude of his tastes had preserved his youthfulness. And, further,