Till the Clock Stops

Produced by Juliet Sutherland, Mary Meehan, and the Project
Gutenberg Online Distributed Proofreading Team
1917
On a certain brilliant Spring morning in London's City the seed of the Story was lightly sown. Within the directors' room of the Aasvogel Syndicate, Manchester House, New Broad Street, was done and hidden away a deed, simple and commonplace, which in due season was fated to yield a weighty crop of consequences complex and extraordinary.
At the table, pen in hand, sat a young man, slight of build, but of fresh complexion, and attractive, eager countenance, neither definitely fair nor definitely dark. He was silently reading over a document engrossed on bluish hand-made folio; not a lengthy document—nineteen lines, to be precise. And he was reading very slowly and carefully, chiefly to oblige the man standing behind his chair.
This man, whose age might have been anything between forty and fifty, and whose colouring was dark and a trifle florid, would probably have evoked the epithet of handsome on the operatic stage, and in any city but London that of distinguished. In London, however, you could hardly fail to find his like in one or other of the west-end restaurants about 8 p.m.
Francis Bullard, standing erect in the sunshine, a shade over-fed looking, but perfectly groomed in his regulation city garb, an enigmatic smile under his neat black moustache as he watched the reader, suggested nothing ugly or mean, nothing worse, indeed, than worldly prosperity and a frank enjoyment thereof. His well-kept fingers toyed with a little gold nugget depending from his watch chain—his only ornament.
The third man was seated in a capacious leather-covered, easy chair by the hearth. Leaning forward, he held his palms to the fire, though not near enough for them to have derived much warmth. He was extremely tall and thin. The head was long and rather narrow, the oval countenance had singularly refined features. The hair, once reddish, now almost grey, was parted in the middle and very smoothly brushed; the beard was clipped close to the cheeks and trimmed to a point. Bluish-grey eyes, deepset, gave an impression of weariness and sadness; indeed the whole face hinted at melancholy. Its attractive kindliness was marred by a certain furtiveness. He was as stylishly dressed as his co-director, Bullard, but in light grey tweed; and he wore a pearl of price on his tie and a fine diamond on his little finger. His name was Robert Lancaster, and no man ever started life with loftier ideals and cleaner intentions.