One of My Sons

Which shows the folly of thinking you know a man's mind before he speaks it.

XXXII

WITH THE SHADE DOWN

Not many words passed between Sweetwater and myself on our way up the Avenue. He had his "idea" to brood upon, while I was engaged in turning over in my mind various vague conjectures rising out of the argument we had just indulged in. But before reaching the point of our destination, I ventured upon one question.

"Have you, during any of your investigations, public or private, learned which of the three sons of Mr. Gillespie is the greatest favourite with the old family servant, Hewson?"

"No; that is, yes. Why do you ask?"

"Because if it is not Leighton – "

"And it certainly is not."

"Then I advise you to direct your energies towards the one he is known to like best."

Sweetwater stopped short and surveyed me in very evident surprise before venturing upon the following remark:

"I should like to know just why you say that?"

I replied by relating my interview with the butler in the drug-store, and his easy acceptance of Leighton's guilt as implied in the arrest which had just taken place.

Sweetwater listened and moved on; but so quickly now I could hardly keep pace with him.

"If my idea has no will-o'-the-wisp uncertainty in it, and I have lighted upon a way out of this mystery, I will be made for life," he declared, as we reached the Gillespie house and he paused for a moment at the foot of the steps. "But there! I'm counting chickens – something which Mr. Gryce never approves of at any stage of the game." And rushing up the stoop, he rang the bell, while I waited below with my heart in my mouth, as they say.

Who would respond to the summons; and if we effected an entrance – which I felt to be a matter of some doubt – whom would we be likely to come upon in a visit of this nature? George? Alfred? I did not like to ask, and Sweetwater did not volunteer to inform me.

The opening of the door cut short my reflections as well as gave answer to my last-mentioned doubt. Old Hewson, and Hewson only, opened the door of this house; and whether this renewed encounter with his patient figure had something disappointing in it, or whether the solemn grandeur of the interior thus quietly disclosed to view produced an impression of family life that was more than painful under the circumstances, I experienced a recoil from the errand which had brought me there, and would have retreated if I had not recalled Hope's interest in this matter, and the joy it would give her to see Leighton Gillespie proved innocent of the crime for which he was at present held in custody.

Meantime, Sweetwater, with an air of perfect nonchalance admirably assumed, had stepped past Hewson into the house. Evidently he was accustomed to go in and out of the place at will, and though the old servant did not fail to show his indignation at this palpable infringement upon the family dignity, he did not abate a jot of his usual politeness or even watch the unwelcome intruder too closely in his passage down the hall.

But his complaisance did not extend to me. He gave me a look which demanded a response.

"Some formality of the law!" I whispered, hoping that the unaccustomed words would befog the old man sufficiently to cover my own embarrassment, and answer any doubts he might have as to the purpose of our errand there. And perhaps they did, for, with some muttered words, among which I heard this pathetic phrase, "There are so many of them!" he crept away and disappeared through the door leading into the dining-room. As he did so, I noted a man sitting on a settee pushed well into the corner near the study door. I did not know this man; I only noted that he sat there very quietly, and that the only movement he made at our approach was a slight raising and falling of his fingers on his crossed arms.

We were making for the study behind the stairs, and into this room Sweetwater, after unlocking it with a key he had taken from his pocket, now walked:

"Do you object to visiting this place again?" he asked, striking a match and reaching up to light the gas.

Of course I answered no, yet it was not quite a pleasant experience to stand there and watch the light flickering on his face, in a spot where I had last seen the one horrid spectacle of my life.

But when the cheerful flame had sprung up, and walls made familiar not by long seeing but close seeing had come into view, I was conscious simply of a strong desire to know why I had been brought to this room in such haste and secrecy, and what the "idea" was which had produced so marked an effect upon my singular companion.

He showed no immediate intention of enlightening me. He was engaged in casting a keen glance about him, a glance which seemingly took in every detail of the well-remembered room; then, as if satisfied that nothing had been disturbed since his last visit, he advanced to the window and pulled down the shade.

"We will not have the curious Mr. Rosenthal giving away our secrets," he dryly commented. "And this is our secret, is it not? You won't feel called upon to repeat outside what goes on between us in this room?"

"Certainly not."

The assurance seemed unnecessary, but I did not regret giving it when I saw how it relieved him of all doubt, and caused his eye to lighten and his manner to grow easy as he went on to say:

"So far as mortal calculation can go, this room has not been entered by anyone but the police or persons acting under the instructions of the police, since the hour when Mr. Gillespie was carried out of it. Consequently we have a right to expect all articles remaining here to be in the same condition as on that night. This, for instance."

He had taken out the typewriter from a closet built in one of the corners, and set it as he spoke down in its old place on the edge of the desk.

"Ah!" I burst forth. "Your idea is in connection with this typewriter!"

He frowned, or almost frowned, for he was an amiable fellow; then, giving me a pleading look, observed:

"I am young yet, Mr. Outhwaite, and it is very easy for me to deceive myself with imaginary results. You will therefore allow me a minute to myself, and if I find out that I have struck a false trail, or if my idea proves to be one I cannot sustain by facts, I'll sing out and we will consult as to our next move."

"Shall I step outside?" I asked.

But this he would not listen to.

"All I want," said he, "is for you to look the other way while I stoop over this typewriter."

I naturally felt disposed to humour him, and meanwhile he remained so still that I was confident he did not touch the instrument. But the cry which impetuously burst from him after a moment of intense stillness startled me so I can never forget it. It was something between a sob and a shout, and it was so suggestive of triumph that I could not forbear turning about and rushing up to the instrument over which he still stooped.

He greeted me with a look of delight and a rush of confused gestures.

"See, sir; oh, see! How I wish Mr. Gryce were here! Look at the top of that key, sir – the one with the words, 'Shift key' on it. Yes, that one; that! What is the matter with it? Tell me."

"The face of it is obscured. I can scarcely read the words. There is something on it. Something like – "

"Paste!" he cried. "The paste that ran out of the bottle and spread over the desk. You can still see unmistakable signs of it here and here" (pointing rapidly as he spoke), "for Mr. Gryce would not allow a woman in the room, and nothing has been cleaned since that night. The paste is but a dry crust now, but you must remember that it was moist when Mr. Gillespie stooped over the table, so that when his fingers got into it in his struggle to reach the typewriter, he readily transferred it to the keys. This will be apparent to you if you will scrutinise the exact keys he made use of in writing those last five words. Observe the one marked e; now this n, and now the o. There is but a trace of paste on some of them; but it is thick on the e, and thicker still on – what key, sir?"

"The one you first drew my attention to; the one marked 'Shift key.'"

"Just so. Now, do you know the use of the 'Shift key?'"

"I do not."

"You press it down when you wish the letter you are writing to be a capital. For instance, I wish to write the capital I. I hold down this 'Shift key' with one finger and strike the key marked i with another."

"Yes, but – "

"Oh, I know what you are going to say: 'No capital appears in the five words we are now considering.' True, sir, but does not this paste on the 'Shift key' show that he made an effort to write one; that a capital was in his mind even if it did not get on paper? In beginning any communication, one naturally starts with a capital, and you see, sir, that the space between this last hurriedly added phrase and the words of his unfinished letter is long enough to hold one. But the haste and agitation of this dying man were such that he did not put enough force into his stroke to bring an impression of this opening capital. If, therefore, we would read this communication intelligently, it is imperative upon us to supply this missing capital. Now, what letter do you think he meant to write there and did not?"

I blankly shook my head. My thoughts were in a great whirl.

"There is but one," he cried, "which would make any sense; the letter N, sir, the famous letter N. Supply that letter, sir; then tell me how those words would read. You know them well, or, stay, I have them here."

And Sweetwater spread before me a copy of the letter as it appeared after Mr. Gillespie had added the five words which had moulded the whole course of the investigation up to this point.

But this was an unnecessary precaution on his part. I knew the words by heart, and already had prefixed to them the capital N which he had just convinced me belonged there, as witness: