Complete Works of Wilkie Collins (874 page)

“Miss?” asked Horace, smiling.

She could only answer him by bowing her head.

He wrote: “Miss Grace Roseberry” — reflected for a moment — and then added, interrogatively, “Returning to her friends in England?” Her friends in England? Mercy’s heart swelled: she silently replied by another sign. He wrote the words after the name, and shook the sandbox over the wet ink. “That will be enough,” he said, rising and presenting the pass to Mercy; “I will see you through the lines myself, and arrange for your being sent on by the railway. Where is your luggage?”

Mercy pointed toward the front door of the building. “In a shed outside the cottage,” she answered. “It is not much; I can do everything for myself if the sentinel will let me pass through the kitchen.”

Horace pointed to the paper in her hand. “You can go where you like now,” he said. “Shall I wait for you here or outside?”

Mercy glanced distrustfully at Ignatius Wetzel. He was again absorbed in his endless examination of the body on the bed. If she left him alone with Mr. Holmcroft, there was no knowing what the hateful old man might not say of her. She answered:

“Wait for me outside, if you please.”

The sentinel drew back with a military salute at the sight of the pass. All the French prisoners had been removed; there were not more than half-a-dozen Germans in the kitchen, and the greater part of them were asleep. Mercy took Grace Roseberry’s clothes from the corner in which they had been left to dry, and made for the shed — a rough structure of wood, built out from the cottage wall. At the front door she encountered a second sentinel, and showed her pass for the second time. She spoke to this man, asking him if he understood French. He answered that he understood a little. Mercy gave him a piece of money, and said: “I am going to pack up my luggage in the shed. Be kind enough to see that nobody disturbs me.” The sentinel saluted, in token that he understood. Mercy disappeared in the dark interior of the shed.

Left alone with Surgeon Wetzel, Horace noticed the strange old man still bending intently over the English lady who had been killed by the shell.

“Anything remarkable,” he asked, “in the manner of that poor creature’s death?”

“Nothing to put in a newspaper,” retorted the cynic, pursuing his investigations as attentively as ever.

“Interesting to a doctor — eh?” said Horace.

“Yes. Interesting to a doctor,” was the gruff reply.

Horace good-humoredly accepted the hint implied in those words. He quitted the room by the door leading into the yard, and waited for the charming Englishwoman, as he had been instructed, outside the cottage.

Left by himself, Ignatius Wetzel, after a first cautious look all round him, opened the upper part of Grace’s dress, and laid his left hand on her heart. Taking a little steel instrument from his waistcoat pocket with the other hand, he applied it carefully to the wound, raised a morsel of the broken and depressed bone of the skull, and waited for the result. “Aha!” he cried, addressing with a terrible gayety the senseless creature under his hands. “The Frenchman says you are dead, my dear — does he? The Frenchman is a Quack! The Frenchman is an Ass!” He lifted his head, and called into the kitchen. “Max!” A sleepy young German, covered with a dresser’s apron from his chin to his feet, drew the curtain, and waited for his instructions. “Bring me my black bag,” said Ignatius Wetzel. Having given that order, he rubbed his hands cheerfully, and shook himself like a dog. “Now I am quite happy,” croaked the terrible old man, with his fierce eyes leering sidelong at the bed. “My dear, dead Englishwoman, I would not have missed this meeting with you for all the money I have in the world. Ha! you infernal French Quack, you call it death, do you? I call it suspended animation from pressure on the brain!”

Max appeared with the black bag.

Ignatius Wetzel selected two fearful instruments, bright and new, and hugged them to his bosom. “My little boys,” he said, tenderly, as if they were his children; “my blessed little boys, come to work!” He turned to the assistant. “Do you remember the battle of Solferino, Max — and the Austrian soldier I operated on for a wound on the head?”

The assistant’s sleepy eyes opened wide; he was evidently interested. “I remember,” he said. “I held the candle.”

The master led the way to the bed.

“I am not satisfied with the result of that operation at Solferino,” he said; “I have wanted to try again ever since. It’s true that I saved the man’s life, but I failed to give him back his reason along with it. It might have been something wrong in the operation, or it might have been something wrong in the man. Whichever it was, he will live and die mad. Now look here, my little Max, at this dear young lady on the bed. She gives me just what I wanted; here is the case at Solferino once more. You shall hold the candle again, my good boy; stand there, and look with all your eyes. I am going to try if I can save the life and the reason too this time.”

He tucked up the cuffs of his coat and began the operation. As his fearful instruments touched Grace’s head, the voice of the sentinel at the nearest outpost was heard, giving the word in German which permitted Mercy to take the first step on her journey to England:

“Pass the English lady!”

The operation proceeded. The voice of the sentinel at the next post was heard more faintly, in its turn: “Pass the English lady!”

The operation ended. Ignatius Wetzel held up his hand for silence and put his ear close to the patient’s mouth.

The first trembling breath of returning life fluttered over Grace Roseberry’s lips and touched the old man’s wrinkled cheek. “Aha!” he cried. “Good girl! you breathe — you live!” As he spoke, the voice of the sentinel at the final limit of the German lines (barely audible in the distance) gave the word for the last time:

“Pass the English lady!”

SECOND SCENE. — Mablethorpe House.

PREAMBLE.

THE place is England.

The time is winter, in the year eighteen hundred and seventy.

The persons are, Julian Gray, Horace Holmcroft, Lady Janet Roy, Grace Roseberry, and Mercy Merrick.

CHAPTER VI. LADY JANET’S COMPANION.

IT is a glorious winter’s day. The sky is clear, the frost is hard, the ice bears for skating.

The dining-room of the ancient mansion called Mablethorpe House, situated in the London suburb of Kensington, is famous among artists and other persons of taste for the carved wood-work, of Italian origin, which covers the walls on three sides. On the fourth side the march of modern improvement has broken in, and has va ried and brightened the scene by means of a conservatory, forming an entrance to the room through a winter-garden of rare plants and flowers. On your right hand, as you stand fronting the conservatory, the monotony of the paneled wall is relieved by a quaintly patterned door of old inlaid wood, leading into the library, and thence, across the great hall, to the other reception-rooms of the house. A corresponding door on the left hand gives access to the billiard-room, to the smoking-room next to it, and to a smaller hall commanding one of the secondary entrances to the building. On the left side also is the ample fireplace, surmounted by its marble mantelpiece, carved in the profusely and confusedly ornate style of eighty years since. To the educated eye the dining-room, with its modern furniture and conservatory, its ancient walls and doors, and its lofty mantelpiece (neither very old nor very new), presents a startling, almost a revolutionary, mixture of the decorative workmanship of widely differing schools. To the ignorant eye the one result produced is an impression of perfect luxury and comfort, united in the friendliest combination, and developed on the largest scale.

The clock has just struck two. The table is spread for luncheon.

The persons seated at the table are three in number. First, Lady Janet Roy. Second, a young lady who is her reader and companion. Third, a guest staying in the house, who has already appeared in these pages under the name of Horace Holmcroft — attached to the German army as war correspondent of an English newspaper.

Lady Janet Roy needs but little introduction. Everybody with the slightest pretension to experience in London society knows Lady Janet Roy.

Who has not heard of her old lace and her priceless rubies? Who has not admired her commanding figure, her beautifully dressed white hair, her wonderful black eyes, which still preserve their youthful brightness, after first opening on the world seventy years since? Who has not felt the charm of her frank, easily flowing talk, her inexhaustible spirits, her good-humored, gracious sociability of manner? Where is the modern hermit who is not familiarly acquainted, by hearsay at least, with the fantastic novelty and humour of her opinions; with her generous encouragement of rising merit of any sort, in all ranks, high or low; with her charities, which know no distinction between abroad and at home; with her large indulgence, which no ingratitude can discourage, and no servility pervert? Everybody has heard of the popular old lady — the childless widow of a long-forgotten lord. Everybody knows Lady Janet Roy.

But who knows the handsome young woman sitting on her right hand, playing with her luncheon instead of eating it? Nobody really knows her.

She is prettily dressed in gray poplin, trimmed with gray velvet, and set off by a ribbon of deep red tied in a bow at the throat. She is nearly as tall as Lady Janet herself, and possesses a grace and beauty of figure not always seen in women who rise above the medium height. Judging by a certain innate grandeur in the carriage of her head and in the expression of her large melancholy gray eyes, believers in blood and breeding will be apt to guess that this is another noble lady. Alas! she is nothing but Lady Janet’s companion and reader. Her head, crowned with its lovely light brown hair, bends with a gentle respect when Lady Janet speaks. Her fine firm hand is easily and incessantly watchful to supply Lady Janet’s slightest wants. The old lady — affectionately familiar with her — speaks to her as she might speak to an adopted child. But the gratitude of the beautiful companion has always the same restraint in its acknowledgment of kindness; the smile of the beautiful companion has always the same underlying sadness when it responds to Lady Janet’s hearty laugh. Is there something wrong here, under the surface? Is she suffering in mind, or suffering in body? What is the matter with her?

The matter with her is secret remorse. This delicate and beautiful creature pines under the slow torment of constant self-reproach.

To the mistress of the house, and to all who inhabit it or enter it, she is known as Grace Roseberry, the orphan relative by marriage of Lady Janet Roy. To herself alone she is known as the outcast of the London streets; the inmate of the London Refuge; the lost woman who has stolen her way back — after vainly trying to fight her way back — to Home and Name. There she sits in the grim shadow of her own terrible secret, disguised in another person’s identity, and established in another person’s place. Mercy Merrick had only to dare, and to become Grace Roseberry if she pleased. She has dared, and she has been Grace Roseberry for nearly four months past.

At this moment, while Lady Janet is talking to Horace Holmcroft, something that has passed between them has set her thinking of the day when she took the first fatal step which committed her to the fraud.

How marvelously easy of accomplishment the act of personation had been! At first sight Lady Janet had yielded to the fascination of the noble and interesting face. No need to present the stolen letter; no need to repeat the ready-made story. The old lady had put the letter aside unopened, and had stopped the story at the first words. “Your face is your introduction, my dear; your father can say nothing for you which you have not already said for yourself.” There was the welcome which established her firmly in her false identity at the outset. Thanks to her own experience, and thanks to the “Journal” of events at Rome, questions about her life in Canada and questions about Colonel Roseberry’s illness found her ready with answers which (even if suspicion had existed) would have disarmed suspicion on the spot. While the true Grace was slowly and painfully winning her way back to life on her bed in a German hospital, the false Grace was presented to Lady Janet’s friends as the relative by marriage of the Mistress of Mablethorpe House. From that time forward nothing had happened to rouse in her the faintest suspicion that Grace Roseberry was other than a dead-and-buried woman. So far as she now knew — so far as any one now knew — she might live out her life in perfect security (if her conscience would let her), respected, distinguished, and beloved, in the position which she had usurped.