He wiped it off caressingly, with a smile.
Although it was Saturday night, and most of the shops were closed, an establishment where watches and trinkets of "Anglo-Spanish" gold, superb in appearance and pillowed on green plush, were retailed at alluring prices, still threw a brilliant light on the pavement, and Richard crossed the road to inspect its wares. He turned away, but retraced his steps and entered the shop. An assistant politely inquired his wishes.
"I want one of those hunters you have in the window at 29/6," said Richard, with a gruffness which must have been involuntary.
"Yes, sir. Here is one. We guarantee that the works are equal to the finest English lever."
"I'll take it." He put down the money.
"Thank you. Can I show you anything else?"
"Nothing, thanks," still more gruffly.
"We have some excellent chains...."
"Nothing else, thanks." And he walked out, putting his purchase in his pocket. A perfectly reliable gold watch, which he had worn for years, already lay there.
At Piccadilly Circus he loitered, and then crossed over and went along Coventry Street to Leicester Square. The immense façade of the Ottoman Theatre of Varieties, with its rows of illuminated windows and crescent moons set against the sky, rose before him, and the glory of it was intoxicating. It is not too much to say that the Ottoman held a stronger fascination for Richard than any other place in London. The British Museum, Fleet Street, and the Lyceum were magic names, but more magical than either was the name of the Ottoman. The Ottoman, on the rare occasions when it happened to be mentioned in Bursley, was a synonym for all the glittering vices of the metropolis. It stank in the nostrils of the London delegates who came down to speak at the annual meetings of the local Society for the Suppression of Vice. But how often had Richard, somnolent in chapel, mitigated the rigours of a long sermon by dreaming of an Ottoman ballet,—one of those voluptuous spectacles, all legs and white arms, which from time to time were described so ornately in the London daily papers.
The brass-barred swinging doors of the Grand Circle entrance were simultaneously opened for him by two human automata dressed exactly alike in long semi-military coats, a very tall man and a stunted boy. He advanced with what air of custom he could command, and after taking a ticket and traversing a heavily decorated corridor encountered another pair of swinging doors; they opened, and a girl passed out, followed by a man who was talking to her vehemently in French. At the same moment a gust of distant music struck Richard's ear. As he climbed a broad, thick-piled flight of steps, the music became louder, and a clapping of hands could be heard. At the top of the steps hung a curtain of blue velvet; he pushed aside its stiff, heavy folds with difficulty, and entered the auditorium.
The smoke of a thousand cigarettes enveloped the furthest parts of the great interior in a thin bluish haze, which was dissipated as it reached the domed ceiling in the rays of a crystal chandelier. Far in front and a little below the level of the circle lay a line of footlights broken by the silhouette of the conductor's head. A diminutive, solitary figure in red and yellow stood in the centre of the huge stage; it was kissing its hands to the audience with a mincing, operatic gesture; presently it tripped off backwards, stopping at every third step to bow; the applause ceased, and the curtain fell slowly.
The broad, semicircular promenade which flanked the seats of the grand circle was filled with a well-dressed, well-fed crowd. The men talked and laughed, for the most part, in little knots, while in and out, steering their way easily and rapidly among these groups, moved the women: some with rouged cheeks, greasy vermilion lips, and enormous liquid eyes; others whose faces were innocent of cosmetics and showed pale under the electric light; but all with a peculiar, exaggerated swing of the body from the hips, and all surreptitiously regarding themselves in the mirrors which abounded on every glowing wall.
Richard stood aloof against a pillar. Near him were two men in evening dress conversing in tones which just rose above the general murmur of talk and the high, penetrating tinkle of glass from the bar behind the promenade.
"And what did she say then?" one of the pair asked smilingly. Richard strained his ear to listen.
"Well, she told me," the other said, speaking with a dreamy drawl, while fingering his watch-chain absently and gazing down at the large diamond in his shirt,—"she told me that she said she'd do for him if he didn't fork out. But I don't believe her. You know, of course.... There's Lottie...."
The band suddenly began to play, and after a few crashing bars the curtain went up for the ballet. The rich coup d'oeil which presented itself provoked a burst of clapping from the floor of the house and the upper tiers, but to Richard's surprise no one in his proximity seemed to exhibit any interest in the entertainment. The two men still talked with their backs to the stage, the women continued to find a pathway between the groups, and from within the bar came the unabated murmur of voices and tinkle of glass.
Richard never took his dazed eyes from the stage. The moving pageant unrolled itself before him like a vision, rousing new sensations, tremors of strange desires. He was under a spell, and when at last the curtain descended to the monotonous roll of drums, he awoke to the fact that several people were watching him curiously. Blushing slightly, he went to a far corner of the promenade. At one of the little tables a woman sat alone. She held her head at an angle, and her laughing, lustrous eyes gleamed invitingly at Richard. Without quite intending to do so he hesitated in front of her, and she twittered a phrase ending in chéri.
He abruptly turned away. He would have been very glad to remain and say something clever, but his tongue refused its office, and his legs moved of themselves.
At midnight he found himself in Piccadilly Circus, unwilling to go home. He strolled leisurely back to Leicester Square. The front of the Ottoman was in darkness, and the square almost deserted.
Chapter IV
He walked home to Raphael Street. The house was dead, except for a pale light in his own room. At the top of the bare, creaking stairs he fumbled a moment for the handle of his door, and the regular sound of two distinct snores descended from an upper storey. He closed the door softly, locked it, and glanced round the room with some eagerness. The smell of the expiring lamp compelled him to unlatch both windows. He extinguished the lamp, and after lighting a couple of candles on the mantelpiece drew a chair to the fireplace and sat down to munch an apple. The thought occurred to him: "This is my home—for how long?"
And then:
"Why the dickens didn't I say something to that girl?"
Between the candles on the mantelpiece was a photograph of his sister, which he had placed there before going out. He looked at it with a half smile, and murmured audibly several times:
"Why the dickens didn't I say something to that girl, with her chéri?"
The woman of the photograph seemed to be between thirty and forty years of age. She was fair, with a mild, serious face, and much wavy hair. The forehead was broad and smooth and white, the cheek-bones prominent, and the mouth somewhat large. The eyes were a very light grey; they met the gaze of the spectator with a curious timid defiance, as if to say, "I am weak, but I can at least fight till I fall." Underneath the eyes—the portrait was the work of an amateur, and consequently had not been robbed of all texture by retouching—a few crowsfeet could be seen.
As
