“I do well enough,” the Count answered. “It is a frightful strain—you of course realise that—for anyone who has been accustomed to the decencies, let alone the luxuries, of life. This filth”—he pronounced the word with indescribable bitterness—“this herding of men like cattle—they treat us no better than pigs here. The fellows drop their dung in the very room where they sleep. What is one to expect of a place like this? Ce n’est pas une existence”—his French was glib and faultless.
“I was telling my friend that you knew Cézanne,” said B. “Being an artist he was naturally much interested.”
Count Bragard stopped in astonishment, and withdrew his hands slowly from the tails of his coat. “Is it possible!” he exclaimed, in great agitation. “What an astonishing coincidence! I am myself a painter. You perhaps noticed this badge”—he indicated a button attached to his left lapel, and I bent and read the words: On War Service. “I always wear it,” he said with a smile of faultless sorrow, and resumed his walk. “They don’t know what it means here, but I wear it all the same. I was a special representative for The London Sphere at the front in this war. I did the trenches and all that sort of thing. They paid me well; I got fifteen pounds a week. And why not? I am an R.A. My specialty was horses. I painted the finest horses in England, among them the King’s own entry in the last Derby. Do you know London?” We said no. “If you are ever in London, go to the” (I forget the name) “Hotel—one of the best in town. It has a beautiful large bar, exquisitely furnished in the very best taste. Anyone will tell you where to find the ——. It has one of my paintings over the bar: “Straight-jacket” (or some such name) “the Marquis of ——’s horse, who won last time the race was run. I was in America in 1910. You know Cornelius Vanderbilt perhaps? I painted some of his horses. We were the best of friends, Vanderbilt and I. I got handsome prices, you understand, three, five, six thousand pounds. When I left, he gave me this card—I have it here somewhere—” he again stopped, sought in his breastpocket a moment, and produced a visiting card. On one side I read the name “Cornelius Vanderbilt”—on the other, in bold handwriting—“to my very dear friend Count F.A. de Bragard” and a date. “He hated to have me go.”
I was walking in a dream.
“Have you your sketch-books and paints with you? What a pity. I am always intending to send to England for mine, but you know—one can’t paint in a place like this. It is impossible—all this dirt and these filthy people—it stinks! Ugh!”
I forced myself to say: “How did you happen to come here?”
He shrugged his shoulders. “How indeed, you may well ask! I cannot tell you. It must have been some hideous mistake. As soon as I got here I spoke to the Directeur and to the Surveillant. The Directeur said he knew nothing about it; the Surveillant told me confidentially that it was a mistake on the part of the French government; that I would be out directly. He’s not such a bad sort. So I am waiting; every day I expect orders from the English government for my release. The whole thing is preposterous. I wrote to the Embassy and told them so. As soon as I set foot outside this place, I shall sue the French government for ten thousand pounds for the loss of time it has occasioned me. Imagine it—I had contracts with countless members of The Lords—and the war came. Then I was sent to the front by The Sphere—and here I am, every day costing me dear, rotting away in this horrible place. The time I have wasted here has already cost me a fortune.”
He paused directly in front of the door and spoke with solemnity: “A man might as well be dead.”
Scarcely had the words passed his lips when I almost jumped out of my skin, for directly before us on the other side of the wall arose the very noise which announced to Scrooge the approach of Marley’s ghost—a dismal clanking and rattling of chains. Had Marley’s transparent figure walked straight through the wall and up to the Dickensian character at my side, I would have been less surprised than I was by what actually happened.
The doors opened with an uncanny bang and in the bang stood a fragile minute queer figure, remotely suggesting an old man. The chief characteristic of the apparition was a certain disagreeable nudity which resulted from its complete lack of all the accepted appurtenances and prerogatives of old age. Its little stooping body, helpless and brittle, bore with extraordinary difficulty a head of absurd largeness, yet which moved on the fleshless neck with a horrible agility. Dull eyes sat in the clean-shaven wrinkles of a face neatly hopeless. At the knees a pair of hands hung, infantile in their smallness. In the loose mouth a tiny cigarette had perched and was solemnly smoking itself.