On this particular evening, Masterman (the cubist poet) had brought a guest with him, a man named Varden. Varden had started life as a professional athlete, but a strained heart had obliged him to cut short a brilliant career, and turn his handsome face and remarkably beautiful body to account in the service of the cinema screen. He had come to London from Los Angeles to stimulate publicity for his great new film, Marathon, and turned out to be quite a pleasant, unspoiled person—greatly to the relief of the club, since Masterman's guests were apt to be something of a toss-up.
There were only eight men, including Varden, in the brown room that evening. This, with its panelled walls, shaded lamps, and heavy blue curtains was perhaps the cosiest and pleasantest of the small smoking-rooms, of which the club possessed half a dozen or so. The conversation had begun quite casually by Armstrong's relating a curious little incident which he had witnessed that afternoon at the Temple Station, and Bayes had gone on to say that that was nothing to the really very odd thing which had happened to him, personally, in a thick fog one night in the Euston Road.
Masterman said that the more secluded London squares teemed with subjects for a writer, and instanced his own singular encounter with a weeping woman and a dead monkey, and then Judson took up the tale and narrated how, in a lonely suburb, late at night, he had come upon the dead body of a woman stretched on the pavement with a knife in her side and a policeman standing motionless near by. He had asked if he could do anything, but the policeman had only said, "I wouldn't interfere if I was you, sir; she deserved what she got." Judson said he had not been able to get the incident out of his mind, and then Pettifer told them of a queer case in his own medical practice, when a totally unknown man had led him to a house in Bloomsbury where there was a woman suffering from strychnine poisoning. This man had helped him in the most intelligent manner all night, and, when the patient was out of danger, had walked straight out of the house and never reappeared; the odd thing being that, when he (Pettifer) questioned the woman, she answered in great surprise that she had never seen the man in her life and had taken him to be Pettifer's assistant.
"That reminds me," said Varden, "of something still stranger that happened to me once in New York—I've never been able to make out whether it was a madman or a practical joke, or whether I really had a very narrow shave."
This sounded promising, and the guest was urged to go on with his story.
"Well, it really started ages ago," said the actor, "seven years it must have been—just before America came into the war. I was twenty-five at the time, and had been in the film business a little over two years. There was a man called Eric P. Loder, pretty well known in New York at that period, who would have been a very fine sculptor if he hadn't had more money than was good for him, or so I understood from the people who go in for that kind of thing. He used to exhibit a good deal and had a lot of one-man shows of his stuff to which the highbrow people went—he did a good many bronzes, I believe. Perhaps you know about him, Masterman?"
"I've never seen any of his things," said the poet, "but I remember some photographs in The Art of To-Morrow. Clever, but rather overripe. Didn't he go in for a lot of that chryselephantine stuff? Just to show he could afford to pay for the materials, I suppose."
"Yes, that sounds very like him."
"Of course—and he did a very slick and very ugly realistic group called Lucina, and had the impudence to have it cast in solid gold and stood in his front hall."
"Oh, that thing! Yes—simply beastly I thought it, but then I never could see anything artistic in the idea. Realism, I suppose you'd call it. I like a picture or a statue to make you feel good, or what's it there for? Still, there was something very attractive about Loder."