“Not one of them, Dick, not one; and I know if one of them had so much as hinted at such a thought, the others would have throttled him before he could have said the words. Have another drop of brandy,” he said hastily, thrusting the glass into his hand; “you’ve no more pluck than a kitten or a woman, Dick.”
“I had pluck enough to bear eight years of that,” said the young man, pointing in the direction of Slopperton, “but this does rather knock me over. My mother, you’ll write to her, Gus—the sight of my hand might upset her, without a word of warning—you’ll write and tell her that I’ve got a chance of escaping; and then you’ll write and say that I have escaped. We must guard against a shock, Gus; she has suffered too much already on my account.”
At this moment the bell rang for the train’s starting: the young men took their seats in a second-class carriage; and away sped the engine, out through the dingy manufacturing town, into the open moonlit country.
Gus and Richard light their cigars, and wrap themselves in their railway rugs. Gus throws himself back and drops off to sleep (he can almost smoke in his sleep), and in a quarter of an hour he is dreaming of a fidgety patient who doesn’t like comic songs, and who can never see the point of a joke; but who has three pretty daughters, and who pays his bill every Christmas without even looking at the items.
But Richard Marwood doesn’t go to sleep. Will he ever sleep again? Will his nerves ever regain their tranquillity, after the intense excitement of the last three or four days? He looks back—looks back at that hideous time, and wonders at its hopeless suffering—wonders till he is obliged to wrench his mind away from the subject, for fear he should go mad. How did he ever endure it? How did he ever live through it? He had no means of suicide? Pshaw! he might have dashed out his brains against the wall. He might have resolutely refused food, and so have starved himself to death. How did he endure it? Eight years! Eight centuries! and every hour a fresh age of anguish! Looking back now, he knows, what then he did not know, that at the worst—that in his bitterest despair, there was a vague undefined something, so vague and undefined that he did not recognise it for itself—a glimmering ray of hope, by the aid of which alone he bore the dreadful burden of his days; and with clasped hands and bent head he renders up to that God from whose pity came this distant light a thanksgiving, which perhaps is not the less sincere and heartfelt for a hundred reckless words, said long ago, which rise up now in his mind a shame and a reproach.
Perhaps it was such a trial as this that Richard Marwood wanted, to make him a good and earnest man. Something to awaken dormant energies; something to arouse the better feelings of a noble soul, to stimulate to action an intellect hitherto wasted; something to throw him back upon the God he had forgotten, and to make him ultimately that which God, in creating such a man, meant him to become.
Away flies the engine. Was there ever such an open country? Was there ever such a moonlight night? Was earth ever so fair, or the heavens ever so bright, since man’s universe was created? Not for Richard! He is free; free to breathe that blessed air; to walk that glorious earth; free to track to his doom the murderer of his uncle.
In the dead of the night the express train rattles into the Euston Square station; Richard and Gus spring out, and jump into a cab. Even smoky London, asleep under the moonlight, is beautiful in the eyes of Daredevil Dick, as they rattle through the deserted streets on the way to their destination.
Chapter V
The Cherokees Take an Oath
The cab stops in a narrow street in the neighbourhood of Drury Lane, before the door of a small public-house, which announces itself, in tarnished gilt letters on a dirty board, as “The Cherokee, by Jim Stilson.” Jim Stilson is a very distinguished professor of the noble art of self-defence; and (in consequence of a peculiar playful knack he has with his dexter fist) is better known to his friends and the general public as the Left-handed Smasher.
Of course, at this hour of the night, the respectable hostelry is wrapped in that repose which befits the house of a landlord who puts up his shutters and locks his door as punctually as the clocks of St. Mary-le-Strand and St. Clement Danes strike the midnight hour. There is not so much as the faintest glimmer of a rushlight in one of the upper windows; but for all that, Richard and Darley alight, and having dismissed the cab, Gus looks up and down the street to see that it is clear, puts his lips to the keyhole of the door of Mr. Stilson’s hostelry, and gives an excellent imitation of the feeble miauw of an invalid member of the feline species.
Perhaps the Left-handed Smasher is tender-hearted, and nourishes an affection for distressed grimalkins; for the door is softly opened—just wide enough to admit Richard and his friend.
The person who opens the door is a young lady, who has apparently been surprised in the act of putting her hair in curl-papers, as she hurriedly thrusts her brush and comb in among the biscuits and meat-pies in a corner of the bar. She is evidently very sleepy, and rather inclined to yawn in Mr. Augustus Darley’s face; but as soon as they are safe inside, she fastens the door and resumes her station behind the bar. There is only one gas-lamp alight, and it is rather difficult to believe that the gentleman seated in the easy-chair before an expiring fire in the bar-parlour, his noble head covered with a red cotton bandanna, is neither more nor less than the immortal Left-handed one; but he snores loud enough for the whole prize-ring, and the nervous listener is inclined to wish that he had made a point of clearing his head before he went to sleep.
“Well, Sophia Maria,” says Mr. Darley, “are they all up there?” pointing in the direction of a door that leads to the stairs.
“Most every one of ’em, sir; there’s no getting ’em to break up, nohow. Mr. Splitters has been and wrote a drama for the Victoria Theayter, and they’ve been a-chaffing of him awful because there’s fifteen murders, and four low-comedy servants that all say, ‘No you don’t,’ in it. The guv’nor had to go up just now, and talk to ’em, for they was a throwin’ quart pots at each other, playful.”
“Then I’ll run up, and speak to them for a minute,” said Gus. “Come along, Dick.”
“How about your friend, sir,” remonstrated the Smasher’s Hebe; “he isn’t a Cheerful, is he, sir?”
“Oh, I’ll answer for him,” said Gus. “It’s all right, Sophia Maria; bring us a couple of glasses of brandy-and-water hot, and tell the Smasher to step up, when I ring the bell.”
Sophia Maria looked doubtfully from Gus to the slumbering host, and said—
“He’ll wake up savage if I disturb him. He’s off for his first sleep now, and he’ll go to bed as soon as the place is clear.”
“Never mind, Sophia; wake him up when I ring, and send him upstairs; he’ll find something there to put him in a good temper. Come, Dick, tumble up. You know the way.”
The Cheerful Cherokees made their proximity known by such a stifling atmosphere of tobacco about the staircase as would have certainly suffocated anyone not initiated in their mysteries. Gus opened the door of a back room on the first floor, of a much larger size than the general appearance of the house would have promised. This room was full of gentlemen, who, in age, size, costume, and personal advantages, varied as much as it is possible for any one roomful of gentlemen to do. Some of them were playing billiards; some of them were looking on, betting on the players; or more often upbraiding them for such play as, in the Cheerful dialect, came under the sweeping denunciation of the Cherokee adjective
